Ayurvedic Massage

This massage sequence is adapted from the sequence taught by Dr. Light Miller. I have had the honor and privilege of studying Ayurvedic abhyanga and marma massage with her and Dr. Byran Miller. Throughout my training I recognized the need to fully internalize the sequence and the substance of these practices, and decided to compile a set of instructions that clarified for me what the essential teachings are, putting them into my own words.

The sequence is designed for two trained practitioners, which I call P1 and P2. The massage itself is a combination of Ayurvedic massage techniques, such as abhyanga, champi, and marma chikitsa. However, there are many individual strokes which are common to lymphatic, Swedish, deep tissue, acupressure, tui na, and reflexology.

The therapeutic focus of this massage is the marma points, which provide energetic and physical gateways into the dhatus and strotras, pranas and nadis, and the chakras. To perform marma, one must be competent in locating “points” on the body, and from a deep therapeutic view, must be able to palpate or visualize the dhatus. It is also extremely helpful to have above average Sanskrit pronunciation, as the names of some of the marma points are powerful vibrations which, I find, focus their therapeutic energy.

I have attempted to corroborate each marma location by comparing the locations that I have received through oral instruction and demonstration, coming from the oral tradition via Dr. Light Miller’s teacher, Panchubhai Chotai, with the locations described in Dr. David Frawley’s book, Dr. Vasant Lad’s book, and the P.V. Sharma edition of the Sushruta Samhita.

Please keep in mind that the knowledge of Ayurveda and marma has been passed down from through the oral (village) traditions, through families and lineages, by the Samhita and textual traditions, and by modern textbooks. The Samhita states the knowledge of marma comes from the Divine Incarnation, Dhanvantari – and the Lord can speak through any form.

The marma points are noted herein by their traditional Sanskrit name, and have been transliterated into Roman script using a simple scheme that uses hypenation to break up the names to make them easier for students to pronounce. All Sanskrit definitions have been derived from the Cologne Digital Sanskrit Lexicon. Each marma also has footnotes which describe additional information about the translation or the location. The dictionary references are transliterated using the ITRANS schema.

In addition to the Sanskrit, I have provided an English translation which I developed through my studies of Sanskrit, and my love for poetry. I have found that during a massage session, not only quietly repeating the Sanskrit name of a Marma point, but the English translation as well, helps me focus my therapeutic intent, as the English translations are also intended to inspire the mind and move energy.

Working with marmas and dhatus requires a subtle consciousness. The Appendix on techniques includes pointers on how to treat the marmas, dhatus, types of strokes used in the massage, and other important aspects.

An additional Appendix is provided in case anyone interested in Sanskrit wants to see the raw dictionary material without having to redo all the dictionary searches.

The goal of this writing is to make the massage sequence easy to learn so that students of Ayurveda can confidently provide the magical benefits of this great art to the Western world.

2. Opening the Massage Sequence

Client Position: Supine

Draping: Client beneath top sheet

P1 and P2: Move to the sides of the client so P1 and P2 are opposite each other with client lying supine between. You may place your hands on the client, and include any appropriate prayers and intentions, melding together for the highest healing good.

3. Supine: Hands, Arms, and Shoulders.

In this section of the sequence, both therapists positioned contralaterally by the client’s sides, work simultaneously and synchronously on each part of the body.

P1: Locate the warm massage oil and have it ready to apply.

P1 and P2: Gently remove the draping from both arms and tuck it appropriately. Position yourselves at the client’s hands, looking toward the upper torso.

P1: Pour oil into P2’s cupped hands, then into your own. Quickly return the oil to the warmer.

P1 and P2: Simultaneously begin to smooth the oil on the client’s hands and their arms up to the shoulder. If the skin immediately absorbs the oil, quickly re-supply. Start by using the long sweeping abhyanga stroke from the hands to the shoulders, and returning. Make between three and ten solid long sweeps up and back, melding with the shape of their arms and tuning into your client.

P1 and P2: Position yourselves at the client’s hands and using both thumbs, sweep the metacarpals. From the dorsal side of the client’s hand, pinch Kshipra, Quick Release [1] between your thumb and first finger. Release and tonify Kshipra marma.

Kshipra is in located the webbing between the client’s thumb and first finger and is accessed from both sides. Kshipra is in snyayu dhatu. Kshipra acts on the respiratory system. It is a “take a big breath and let it out slowly”type of marma. So it will energize the body by bringing in Prana, and release toxic energy through Apana. Kshipra can then open the heart. By releasing the chest through Kshipra, the respiratory, circulatory, lymphatic, and immune systems are affected, including the Thymus gland. Kshipra frees passion, grounds the will, and promotes confident self-expression.

P1 and P2: Milk the digits starting from the thumb. Firmly work area in the webbing to release each joint first, paying close attention to the contour of the bone and the tiny muscles and ligaments at the attachments, as you work down each digit to the tip. Squeeze the fingertip and then milk the next digit, until you reach the little finger. End by sweeping the metacarpals.

P1 and P2: Turn the client’s hand to work the palmar surface. Return to pinch Kshi-pra, Quick Release between your thumb and first finger of one hand. Simultaneously locate and work the satellite of Kshi-pra, located at the base of the client’s little finger, working it between the thumb and first finger of your other hand.

Perform deep circular motions on the base of the thumb and the base of the little finger. You may also traction and rock the arm gently as you work together.

P1 and P2: Place both your thumbs in the center of the client’s palm at Tal-hri-daya, Heart in Hand [2] , and use deep circular motions to release the marma’s central point spiraling out to work the palmar surface of the knuckles. Complete working this marma by pinching the tips of each finger.

Tal-hri-daya is located in the center of the palm and radiates out to the tips of the fingers. It is located in mamsa dhatu, and affects rasa dhatu, promoting lubrication and energy flow. Tal-hri-daya acts on the lungs and respiratory system, the heart, and controls the hands. Tal-hri-daya affects balance and wellbeing.

P1 and P2: Hold the client’s hand palm-up and work Kuur-cha, Little Bundle [3] , located in the center of the thenar eminence (mount of venus) of the thumb. [4]

Kuur-cha is in snayu dhatu, and controls alochaka pitta. The thumb is the finger of the fire element, agni tattva. Kuur-cha is a deep marma, so you may have to use extra pressure.

Then place your thumbs on Mani-ban-dha, Jewel Bracelet [5] and Kuur-cha-shira, Bundle’s Head [6] . Mani-ban-dha is located on the thumb side of the wrist directly on the on the medial tip of the head of the radius. Kuur-cha-shira is located at the wrist joint, on the little finger side, directly on the lateral plane of the ulna, just past its head, in a tender flat depression. Work Mani-ban-dha and Kuur-cha-shira simultaneously with a circular motion.

Mani-ban-dha is a sandhi, or joint marma, which accesses the skeletal system. It’s energy travels right up the arm. It relieves stiffness, and increases flexibility. The three lines circling the wrist are called “tri-rekha.” These important folds (or divisions) circulate energy, and their spiritual significance is extensive. The tri-rekha are related to Devi and the Triloka, among many other subjects. That is why it is considered a “jewel”.

Kuur-cha-shira is located in snayu dhatu, and controls various types of agni, including the digestive fire. This point also enhances circulation.

Finish working the wrist using a back and forth motion over the tendons at the center of the joint. Feel for an energy release as the joint opens. It can help to shake the joint to loosen it up.

P1 and P2: Take the client’s hand and gently shake out the arm, moving it out and to the side, loosening any tension that may have accumulated. Return both arms to the client’s side.

P1 and P2: Hold the client’s hand with your hand closest to the client’s body. Then with your outside hand, make long, deep strokes from the wrist to elbow on the anterior forearm. Using your thumb, make tight circular strokes down the center of the supinated forearm, from the wrist to the elbow. Return to the wrist with a one stroke, clasping the whole forearm.

Then work Indra-vasti, Indra’s Bow [7] , located at the junction of brachioradialis and flexor carpi radialis.

Indra-vasti is a mamsa, or muscle marma. If the client has thick musculature this marma may require pressure. It affects the respiratory system, and circulatory system. The radial artery and the median antebrachial vein (juncture of cephalic and basilic veins) traverse the region of this marma.

P1 and P2: With the thumb of your outside hand, make deep circular motions on Kuur-para, Flowing Bend [8] , comprising two points located bilaterally at the joint of the elbow.

Using a pincer grip, grasp both sides of the elbow joint between your thumb and first or second finger. Seek with your fingertips to find the outer points of Kuur-para. The marma is located in the joint, so you have to relax the ligaments around it using your fingers and sending energy in.

When you feel the marma, rotate the client’s forearms up and inward, circling round and round in a gentle, flowing manner. Check to make sure the entire arm and shoulder is relaxed. Then circle the forearm the opposite direction. If it helps access the marmas better, when you reverse, you can switch your grip and use your other hand.

Kuur-para is a sandhi, or joint marma. Kuur-para affects digestion.

P1 and P2: Holding the wrists, shake the arms lightly to loosen the joints. Then straighten the client’s arms and place them gently on the table. Perform a few long stroke up the entire arm, circling around the shoulder, and returning.

After a few sweeps, move to the upper arm and work Ur-vii, Wide Open [9] , located at three points: in the bicep over the brachial artery and basilic vein, at the insertion of the deltoid, and contralaterally over brachialis and the cephalic vein.

Ur-vii is a sira, or vessel marma. Ur-vii affects both the circulatory system and lymphatic system. It’s energy is opening, broad, and expansive – yet deep, because of the connection to the sira.

Finish the arm sequence by sweeping the shoulder from deltoid to trapezius, and returning. Then stand at the client’s shoulder, facing their feet. Place your inside hand on firmly on their shoulder and anchor it to the massage table. Flatten your outside hand on the trapezius and deltoid and use the long stroke down the entire arm, ending off the fingers. Do this several times to close this part of the sequence.

4. Supine: Head, Neck, Collarbone, Stomach and Ribs.

In this section of the sequence one therapist takes the head, neck and collarbone. The other therapist takes the stomach and ribs. Because P1 (the therapist at the head) has to do both sides of the neck, they have more work to do. So it’s important for the two therapists to remain in synch in order to finish this section of the sequence at the same time.

P1: Locate the warm massage oil and have it ready to apply.

P2: Remove draping from the client’s torso and abdomen, down to the top of the pubic bone. Cup your hands above the client’s navel.

P1: Pour oil into P2’s cupped hands.

P2: Let the warm oil flow into the client’s navel, and slowly spread it in clockwise spirals out from the center. The navel center, and up to about three finger widths in a circle around it, is Naa-bhi, Origin [10] . Start consciously here, for Naa-bhi, Origin is a very sacred space. Massage with your fingers, using a spiral motion out from the center several times, then circle the outer edge of the marma.

Naa-bhi is like the hub of a wheel. One of the alternate translations is “Wheel.” It is a shira, or vessel marma. Sushruta says Naa-bhi is the “Origin of blood vessels”. The umbilicus is the first vessel, the origin of all vasculature.

The abdominal aorta lies below Naa-bhi, deep in the abdomen, at the midline. Therefore Naa-bhi affects circulation and digestion. An excellent mantra for Naa-bhi is “Aum.”

Naa-bhi has satellite points that are utilized later in the massage sequence, and which are indicated below.

In widening circles, gently massage the abdomen. Over the ascending colon, bring both hands together and using supported fingers, massage the colon with small circular motions. Traverse the ascending, transverse, and descending sections. Use firm pressure.

P1: Supply your hands with oil as you move to a standing position behind the client’s head. Place your hands on the client’s shoulders with gentle alternating pressure and rock them.

Make sweeping effleurage strokes from the client’s shoulders, up behind their neck. Then, gently take the client’s head in your hands and lift it slightly. Sidebend and rotate the neck to release tension. Then use a skiing motion, gently gliding your fingers across the cervical spine, using both hands, or one hand, with the other holding the head. Release the neck by working your fingers into Krak-nik [11] , located bilaterally from the spinous processes of C7.

Krak-nik marma is related to mental fatigue, allergies, and the thyroid gland. The nerves exiting C7 go to the heart and the dermatome runs down the back of the arms to the hand and ends at the index and middle finger.

Place your fingers bilaterally below the External Occipital Protuberance (EOP) and massage Kri-kaa-ti-kaa, Occipital Junction [12] . If you are familiar with CranioSacral techniques, this is a good place to add CST.

Kri-kaa-ti-kaa is a sandhi, or joint marma related to posture, circulation in the head, and the subconscious mind.

While supporting the head with your left hand, sidebend the neck to the left so the muscles of the right side are accessible. Then gently work Man-yaa, Neck Space [13] , located down from the angle of the jawbone, right in front of sternocleidomastoidus, over the external and internal jugular veins.

Man-yaa is a sira, vessel marma. Pressure on it can inhibit venous drainage from the cranium, resulting in a backflow. When Man-yaa is released, and the backflow drains, stale blood, toxins, lymph, CSF and pranic energy are driven down by the apana into the thorax.

Man-yaa therefore affects cerebral circulation, and can improve the exchange of fluids in the cranium. In addition to rakta dhatu, rasa dhatu is involved, which includes plasma, CSF, and lubrication to the throat and tongue which affects sense of taste, so crucial in Ayurveda and yoga. Man-yaa also affects the voice.

P2: After massaging the colon, make a fist with one hand and cover it with your other hand. Gently place it on the navel.

Start lightly so that you can get a feel the dimensions of the client’s small intestine beneath your knuckles. Once you get used to the space, and feel how much pressure you need to apply to churn it, massage the small intestine with a round rocking motion that comes from your shoulders. You can do a few rounds to help size the area up.

After you have thoroughly massaged the small intestine with cleansing and balancing energy, use clockwise strokes to smooth out and integrate the entire abdomen. Then use the two handed Swedish “wave” stroke laterally continuously across the client’s entire belly. Take your time.

P1: Gently work Siraa-maatri-kaa, Mother Channel [14] , located on the lower front of the neck, bilaterally from the trachea, one finger-width’s distance.

Siraa-maatri-kaa is a siro, or vessel marma. It is a collection of 8 marma points nested among the 8 vessels of the neck. Sushruta states Siraa-maatri-kaa affects the throat, tongue, specifically speech and the sense of taste

Holding the head with your left hand, use the fingers of your right hand to smooth the muscles of the neck from the ear, down to the collar bone, ending at the jugular notch. Right beside the jugular notch, on the superior aspect of the collarbone, directly between the medial head and the sternal head of the sternocliedomastoidus, is ak-sha-ka, Etheric Column [15] . Apply very gentle, sensitive pressure with awareness using your index fingertip. This is a very subtle space. Watch the client for signs of release. Beneath your finger the udana will begin to flow up the inside of the neck.

P2: Place your fingers at Naa-bhi, and then put the thumb and index finger of one hand approximately two finger-widths below the navel, and spread them about four finger-widths. These are the lower satellite points of Naa-bhi.

Place the thumb and index finger of the other hand approximately two finger-widths above the navel, and spread them about four finger-widths. These are the upper satellite points of Naa-bhi.

Apply gentle pressure to each of the four satellite points of Naa-bhi marma. When you feel the energy flowing here, release the satellite points by maintaining constant pressure, and drawing your hands apart while bringing both thumbs and index fingers together.

The motion is kind of like closing a ziplock bag. When the fingers join, they should be about four or five finger-widths above and below Naa-bhi, at the midline over the linea alba. Apply pressure with the intention of enlarging and opening the energy field. Do this movement three times.

P2: Using pressure and circular motions, work Nii-la, Heavenly Blue [16] , below Ak-sha-ka. Use light pressure and circular motions.

Nii-la affects the fifth chakra, clairaudience, and thyroid function.

After massaging Nii-la, use broad flat strokes on the collarbone from neck to shoulder. Do this slowly three times, and then sweep from the shoulders to the neck, lifting the head slightly in a classic Swedish effleurage move.

After several times, reverse your hold on the client’s head, to perform the marma sequence on the other side of the neck:

Man-yaa, Neck Space

Siraa-maatri-kaa, Mother Channel

ak-sha-ka, Etheric Column

Nii-la, Heavenly Blue

P2: Work Basti, Bladder, located three finger widths directly below Naa-bhi, located in a small indentation on the linea alba, using circular motions and gentle pressure. Then work the satellite of Basti located in the groove on the superior angle of the pubic symphisys.

Basti is in snayu dhatu, and releases the pelvic and urogenital diaphragms.

Using circular motions, massage the small indentation or pit at the midline on the linea alba, just below the xiphoid process. This point is a delicate area, so take care to sense the energy first, and then work gently.

Perform a liver pump and a gallbladder pump. Then, use clockwise strokes to integrate the abdomen. On your last circle around, massage the ribs by moving one hand over the other in a cross-wise stroke. To massage the intercostals, place your fingers in the intercostal spaces and rake from both sides toward the midline. Massage the tips of the rips above the abdomen. Move beneath the ribs to open the ribcage. Gently rake the liver and gallbladder toward the midline, with one hand, and rake the spleen and stomach toward the midline using your other hand.

P1: Lay the client’s head down, and repeat the effleurage sweeps from shoulder to the back of the neck, gently lifting the client’s head to get to the back of the neck.

Slide your first two fingers between the sides of the client’s chest and their upper arms, at the level of the nipples. Let your thumb rest on the upper pectoral muscle, in the depression where the chest and shoulder meet.

Contact the ribs with your first two fingers paying close attention to the energetic quality of this area. Massage Apa-stamba, Heaven’s Waterfall [17] , using circular motions with moderate to heavy pressure. Use both thumbs in a pressure-point technique to release tension in the shoulders and torso.

Apa-stamba is a siro, or vessel marma. This marma is a container for prana, life energy. It affects rasa dhatu, lymph and plasma, and digestive juices. By releasing trapped energy in the torso, it affects the ability to take in prana through expanding the breath. And by inducing the flow of lymph and other juices, it can stimulate the flow of apana as well. This is a wide marma, but there can be muscular armor and desensitized or oversensitized nerves in this area. So take your time and really connect with the dhatu.

Massage Hri-da-yam, Heart and Soul [18] , located in an indentation in the center of the breastbone (sternum), half way from the sternal notch to the tip (xiphoid process). Then palpate the length of the sternum for sensitive spots and release any you find. Be careful at the bottom, near the delicate xiphoid process.

Hri-da-yam is a sira, or vessel marma. It affects the immune system through the thymus gland; rasa dhatu (plasma) and rakta dhatu (blood). It also can be used to release the heart.

P2: Turn and face P1 to begin the tandem massage.

P1: Begin tandem massage on the torso by laying your hands flat, side by side, on the client’s sternum. Use a swimming effleurage stroke down the center of their chest and abdomen, and return along the same path. P2 will be coming up the torso, so make sure to synchronize and cross in the middle of the client’s body.

P2: Begin the tandem massage by placing your hands on the sides of the client’s abdomen, and massaging up toward the chest, and return by the same path. P1 will be coming down the torso, so make sure to synchronize and cross in the middle of the client’s body.

P1 and P2: Continue in tandem, alternating which therapist takes the center, and which takes the sides. Keep reversing roles in a swimming style, back and forth about ten times.

The tandem strokes take practice, so don’t get frustrated if you are not able to synch up right away.

When you have balanced the prana, apana, samana, udana, and vyana, and balanced the doshas, let your hands rest on the client at the chest and lower abdomen. Then, facing each other, close the sequence prayerfully. Replace the torso draping and tuck the client in.

5. Supine: Feet, Ankles, Shins, Calves, Knees, and Inguinal Area.

In this section of the sequence, both therapists work simultaneously on the same parts of the client’s body bilaterally.

P1: Locate the warm massage oil and have it ready to apply.

P1 and P2: Fold the draping on the client’s legs inward so the legs are accessible including the side of each hip.

P1: Pour oil into P2’s cupped hands and then onto the client’s leg on P2’s side. Pour oil onto the leg on your side, and into your cupped hand. Replace oil in the warmer.

P2: Start gently spreading the oil up the entire leg.

P1: Follow P2 quickly, and synch up as you both spread the oil.

P1 and P2: Perform synchronous long Abhyanga strokes from the dorsums of the feet across the top of the leg, around the hip and back down, paying close attention to form fitting the feet at the end of each stroke, with each therapist’s fingers coming off the toes and breaking contact with the client at the same time. Be in synch as you both make initial contact with the client’s feet to start the next stroke. Do this at least ten times.

P1 and P2: Move to the sides of the client’s thighs, facing each other. Using synchronized alternating hands, scoop the anterior muscles of the thigh back and forth about 15-20 times. Then use alternating wringing strokes at the center of the anterior thigh. Move down to the knees and use synchronized alternating wringing strokes on the kneecaps.

P1 and P2: Each therapist places their hand closest to the feet beneath the client’s knee, lifts the leg and bends it at the knee. If you need to secure this position, put your knee on the table, supporting the leg at the foot.

Face the client and grasp their knee with both hands, with your thumbs on the front of the knee, and your fingers meeting on the other side. Then slowly strip down the center of the thigh several times with your fingers, moving from the knee to the hip.

Change hand positions by leaning, holding the knee with your outside hand, and with a flat broad stroke, massage down the inside of the client’s thigh.

With deep circular motions, massage Uur-vii, Middle Space [19] , located in the center of the anterior thigh at the junction of the rectus femoris, vastus medialis, and sartorious.

Uur-vii as a siro, vessel marma. Dr. Light Miller taught me it is related to apana, and letting go. Uur-vii is above the femoral artery and the saphenous nerve, which is the largest cutaneous branch of the femoral nerve.

P1 and P2: Strip down from Uur-vii to the inguinal and femoral lymph nodes. Go as far as you can toward the crease of the thigh.

While this can sometimes be a sensitive area for the client, it is crucial to detox the lymph nodes by pushing lymph. In contrast to the light-touch lymphatic massage style, Dr. Miller taught me to use vigorous deep circular strokes with the side of the thumb. However, I have found that using the lighter lymphatic stroke afterward is excellent, and one can palpate and access the awareness of rasa dhatu very nicely.

Stroke the inner thigh again from knee to inguinal region to integrate the energy. Using both hands, stroke both sides of the thigh. Return to the knee and stabilize it. Use deep circular motions on Aa-ni, Boundary [20] , located five finger widths above the knee, directly above the kneecap, and continuing down onto the boundary of the kneecap for about 1 finger width. This area can be heavily armored desensitized due to constant use. So work from the main point down. When you get used to doing the knee, you will integrate working Aa-ni and the Ja-nu points.

Aa-ni is a snayu marma. But I feel that, when you work it’s satellite point on the superior aspect of the kneecap, it should be able to function like a sandhi marma.

P1 and P2: Using both hands, place the tips of your index fingers on the kneecap. Find the dips at the top of the kneecap on both sides. Place your your thumbs into the two indentations at the bottom sides of the kneecap. Your fingers should be in approximately a square. These points are Jaa-nu, Knee [21] . Deeply massage all four points of Jaa-nu.

Jaa-nu is a sandhi, or joint marma, affecting joint movement, balance, and circulation.

P1 and P2: Using both hands, massage the sides of the knee with your fingers. Then strip the front lower leg down to the ankle several times.

P1 and P2: With your outside hand stabilize the knee. Using your inside hand massage the calf by pulling it medially and toward you. Do this 10 times, then reverse your hands, and stroke laterally and toward you.

P1 and P2: With both hands, grasp the lower leg, placing your outside thumb on the outside of the shin approximately five finger widths below the knee, on the outside border of the tibia; and your inside thumb approximately five finger widths above the ankle on the inside border of the tibia. [22] These two points are Indra-vasti, Indra’s Bow.

Indra-vasti (lateral)) affects the kidney/adrenal complex, and (medial) affects the reproductive glands and relieves menstrual cramps.

P1 and P2: Sweep down the shinbone from knee to ankle three times. Rock the knee from side to side to release the tension in the leg. Then take the leg up and gently place flat on the table.

Move to the bottom of the massage table and grasp the clients’ feet. Using the fingers of both your hands to work all around the ankles. This is Gulpha, Root of the Ankle [23] .

Gulpha is a sandhi, joint marma. It affects the stability and balance of the pelvis and the knee. It affects the reproductive system.

P1 and P2: Massage the entire ankle area and then rake the tendons down to the toes. Massage Kshipra, Quick Release [24] , in the webbing of the big toe from above and below. Then place a drop of oil in the webbing between each toe and massage.

Kshipra is a snayu, connective tissue marma.

Work on the feet together. Stimulate the ends of the toes with thumb and finger pressure. Do friction movements with both hands rapidly churning the foot as if you were churning butter. Stretch the feet toward you. Rotate each toe 10 times.

P1 and P2: Stabilize the foot so you can work the plantar surface. Use deep circular strokes on Kuur-cha, Little Bundle (27), [25] located in the center of the ball of the foot. Massage the padding at the base of the toes.

Kuur-cha is a snayu, connective tissue marma. It is located at the acupuncture point, Kidney 1.

P1 and P2: With your thumb, massage Tal-hridaya, Foot Heart [26] , located in the center of the foot.

Tal-hridaya is a mamsa, muscle marma. It affects the heart, respiratory system, and relieves stiffness in the foot.

P1 and P2: Stabilize the foot and cup the heel. Press deeply into the center of the heel to massage Kuur-cha-shira, Bundle’s Head [27] .

Kuurcha-shira is a snayu, or connective tissue marma. It affects spinal alignment and grounding.

P1 and P2: Close this section of the sequence by doing the long Abhyanga stroke from foot to shoulder and back five times. Then grasp the client’s feet and pull back with your weight, elongating the client’s body. Then replace the draping and tuck the client in.

6. Right Side: Shoulder, Ribs, Hips and Buttocks.

In this section of the sequence the client turns on one side, and one therapist massages the shoulder and ribs from the side, while the other massages the hips and buttocks from the side.

P1: Locate the warm massage oil and have it ready to apply. Locate the spare draping towel to use to cover the breast area for women. Then ask the client to roll over onto their left side.

P1 and P2: Hold the draping in place as the client turns. Work together to remove the draping from the client’s right shoulder, down to the end of their buttocks. Be prepared to place the spare draping towel to cover the breasts. Tuck in the draping around the lower hip to secure it.

P1: Pour oil into P2’s cupped hands and then into your own hand.

P2: Spread the oil on the client’s raised hip and buttock.

P1: Spread the oil on the client’s raised shoulder and exposed ribs.

P1 and P2: Working in synchrony, each therapist should start massaging their respective areas on the client’s body using both hands in a swimming motion similar to the way the upper thigh was massaged. The buttock and the shoulder, both being round, can be used as the central pivot for windshield washer type strokes that conform to the body, and spread the tissues outward. Care should be taken to work the entire right side of the torso.

To close this part of the sequence, stop gently together and re-cover the client with the draping, making sure to remove the breast draping if any.

Prepare the face cradle and secure the draping to allow the client to roll over prone.

P1: Tell the client to turn and lie face down on the table, scooting-up to put their face in the face cradle.

7. Prone: The Back, Sacrum, and Buttocks.

In this section of the sequence the client is prone, and both therapists work simultaneously on the upper body.

P1: Locate the warm massage oil and have it ready to apply.

P1 and P2: Take positions at each side of the client’s torso. Remove the draping down to just below the bottom of the sacrum. Tuck in the draping to secure it.

P1: Pour oil into P2’s cupped hands and then into your own hand. Drizzle warm oil on the client’s spine.

P1 and P2: Spread the oil up on the client’s back. Then starting at the top of the sacrum, sink your thumbs into the depression on each side of the spine. Proceed up the spine, vertebrae by vertebrae, using your thumbs in a tight semi-circular motion, to push the tissues “up-and-out, up-and-out, up-and-out,” away from the spine. Work your way to the top of the spine.

Massage the tissue above the scapulae. Then perform the same “up-and-out” motion back down the spine to the sacrum, and then back up to the scapulae.

Using a soft claw-like grip, put both of your hands into the groove along the sides of the spine, starting at the base of the neck. Gently dig in and pull the vertical band of muscle and tissue toward you. Repeat this stroke all the way down the spine.

P1 and P2: Move up to the client’s shoulders. Anchor the thumb of your cephalad hand in the armpit. Rotate your wrist so that your fingers fan the scapula. Do this 5-10 times, really feeling into the tissues along the borders of the scapula.

P1 and P2: With circular motions, massage Bri-ha-tii, Vast Abundance [28] , located two finger widths above the inferior angle of the scapula.

Bri-ha-tii is a siro, or vessel marma, due to its relation to the subscapular artery and vein and the lymph ducts in the armpit area. It affects the heart and lungs. Bri-ha-tii frees the energy of the arms.

P1 and P2: With circular motions, massage Amsa-phala-ka, Fruitful Plough [29] , located two finger widths below the superior angle of the scapula.

Amsa-phala-ka is an asthi, or bone marma. It affects the heart, thymus, and respiratory system, and accesses asthi dhatu, the skeletal system.

P1 and P2: With tight, focused circular motions, massage Amsa, Sacred Altar [30] , first in the (supraspinator) notch in the top border of the scapula, then in the center-top of the trapezius on the shoulder.

Amsa is a snayu, connective tissue marma. It is affects energy to the brain, relaxes the nervous system, and promotes self-esteem (holds your head up).

P1 and P2: Place one hand at the sacrum and one hand on the scapula and very gently stretch the tissue of the entire back from sacrum to shoulder. Make sure not to put any pressure on the neck. Take your time to feel the release before moving on.

P1 and P2: Draw your hands together and place them over the kidneys. Send healing energy to the kidneys and adrenals. Lightly explore to see if you can feel any points that need massaging and if you do, work them.

Place your hands on each corner of the top of the sacrum and locate the depression one finger width inward toward the spine. This point is Nitamba, Sloping Shore [31] . Thoroughly massage Nitamba, then allow your fingers to rest on Nitamba.

Nitamba is in asthi dhatu, and is a bone point, located on the sacrum (sacred bone). Nitamba affects rasa dhatu, the craniosacral system, the skeletal system, and the pelvic and urogenital diaphragms.

P1: While you and P2 continue your pressure at Nitamba, place the tip of your second finger on the junction between the client’s fifth sacral segement and their cocxyx. Gently offer sacred energy into the sacrum. The large marma region comprising of the exterior and interior of the anus is Guda, Clearing the Way [32] .

Guda is a mamsa, or muscle marma. It affects the alignment of the sacrum and spine. It affects the urogenital and pelvic diaphragms, and is related to the first chakra.

P1: release your hands from the client’s body.

P2: Perform a sacral pump by placing hand in a cup on the sacrum, with your fingers facing the client’s feet. Meld your hand with the sacrum. Then with very gentle pressure, rock the sacrum toward the feet and back. Do this five to ten times. Never force it.

The sacral pump encourages the Cerebrospinal Fluid (CSF) in the spine to flow. This fluid is produced in the ventricles of the brain, and flows throughout the cranial meninges and the tissues of the vertebral column as a lubricant and anti-shock agent. The sacral pump energetically connects the brain with the sacrum and balances the entire nervous system.

After the sacral pump is completed, slowly lift your palm from the client’s sacrum.

P1 and P2: Move to the side of the client’s buttocks. Place your hands, thumbs together in the center of the buttock, and massage with moderate pressure in a “windshield wiper” or churning motion. Lean into the buttock to promote a release deep in the tissue.

P1 and P2: Press both thumbs into the center of the side of the buttock and massage in a tight up and down motion, leaning into the tissue. Then use your thumbs to strip the buttocks, following the fibers, moving thumbs from the table, upward and over the buttock. This removes agni from the fibers of the gluteals.

P1 and P2: Close this section of the sequence by massaging from the buttocks, over the sacrum, and up each side of the spine to the shoulder. Return with one hand following the same path, and the other hand branching out from the shoulder to travel down the arm to the hand. Then replace the draping on the client’s torso and arms.

8. Prone: The Legs, Knees, and Calves.

In this section of the sequence the client is prone, and both therapists work simultaneously on the legs.

P1: Locate the warm massage oil and have it ready to apply.

P1 and P2: Take positions at each side of the client. Fold the draping on the client’s legs inward, tucking the center so the legs are accessible up to the buttocks.

P1: Pour oil into P2’s cupped hands and then onto the client’s leg on P2’s side. Pour oil onto the leg on your side, and into your cupped hand. Replace oil in the warmer.

P2: Start gently spreading the oil using a long effleurage stroke up the entire leg.

P1: Follow P2 quickly, and synch up as you both spread the oil.

P1 and P2: Perform synchronous long Abhyanga strokes from the ankles, up the leg, around the buttock and back down, paying close attention to form fitting the feet at the end of each stroke, with each therapist’s fingers coming off the toes, breaking contact with the client at the same moment. Be in synch as you both make initial contact with the client’s feet to start the next stroke. Do this ten to fifteen times.

P1 and P2: Move to the sides of the client’s thighs, facing each other. Using alternating hands, scoop the back of the thigh fifteen to twenty times.

P1 and P2: Now wring the same muscle group, using alternating hands.

P1 and P2: Using medium pressure, strip the back of the leg from above the knee to the fold of the buttock. When you reach the sit-bone (ischial tuberosity), increase your pressure and massage the muscle attachments. Use pressure point technique.

Work mid-way between the knee and buttock, massaging the point in the center of the posterior thigh, using deep circular motions. This is the reverse side of Aa-ni, Boundary.

P1 and P2: Move down to the knees and scoop the knees with alternating hands. Even though in massage school they teach you not to put any pressure on the hollow at the back of the knee (the popliteal fossa), as long as you are tuned into the sensitivity of the client, and the energetics of the lymphatic system, and rasa dhatu, you can use moderate pressure to massage in circular motions the reverse side of the knee (Jaa-nu, Knee).

Jaa-nu on the posterior knee affects rasa dhatu, and is related to Bladder 40, which is for “moving masses” and relieving pain. Jaa-nu is a very versatile therapeutic point.

P1 and P2: Grasp the foot and bend the leg at the knee. If you need to secure yourself, put your inside knee on the table. Position your body so you can strip the back of the lower leg from ankle to knee using both hands in a hook-like position. Then strip the font of the leg from ankle to knee.

P1 and P2: Lay the leg back down on the table. Massage the reverse side of Indra-vasti, Indra’s Bow, located in the center of the calf muscle, where the two heads of the calf join the tendon.

This location of Indra-vasti affects agni and helps with athletic injuries.

P1 and P2: Stabilize the ankle by placing it on your shoulder. Then, using both hands, wring the calves.

Return the foot to the table, and perform long Abhyanga strokes on the entire leg, circling the hip and returning to come off the foot.

P1 and P2: Re-drape the client’s legs, leaving their feet uncovered.

9. Prone: The Head and Feet.

In this section of the sequence the client is prone, and one therapist works the head, while the other therapist works the feet.

P1: Locate the warm oil to have at the ready. Position yourself at the client’s head.

P2: Position yourself at the client’s feet. The feet will most likely not need any additional oil. Start massaging the client’s feet. At this point in the massage, your job is to do a good foot massage while P1 massages the client’s head.

P1: Pour a little oil on the hairline at the back of the client’s neck and massage the scalp around the occiput with your fingertips, using a rubbing, tight circular stroke and also a “scratching” stroke that releases the roots of the hair.

Massaging the occiput alleviates mental fatigue, increases exchange of fluids in the cranium, and affects allergies.

P1: Massage all around the ears on the parietal bone.

Pull the ears slightly. Massage the lobes and pinna of the ear. Massage Ut-kshe-pa, Open Wings [33] , located at the anterosuperior border of temporalis, on the coronal suture.

Ut-kshe-pa is a snayu, or connective tissue marma which is very relaxing and pacifies vata.

P1: Using large flat circular strokes, with your index, middle and ring fingers, massage Shan-kha, Divine Call [34] , located on surface of the temples.

Shan-kha is an asthi, or bone marma. It affects the clarity of the senses of hearing and touch.

P1: Massage Siim-anta, Middle Way [35] , located at bregma, the junction of the fronta and sagittal sutures.

Siim-anta is a sandhi, or joint marma. Properly massaging it can affect the sutures of the cranium and the meninges, or connective tissue surrounding the brain. It can also enhance pituitary function.

P1: Massage Adhi-pati, Overlord [36] , located at the vertex of the cranium, in the sagittal suture.

Adhi-pati is a sandhi, or joint marma. It is also called the Brahma Randra, or the hole in which consciousness enters and leaves the skull. It is a very spiritual point, so be very clear when you massage it. Properly massaging it can affect the sutures of the cranium and the meninges, or connective tissue surrounding the brain. It can also affect the pineal gland.

P1: Complete this section of the massage sequence by making little handles of the hair on each side, like pigtails, and then twisting the hair around your finger until you are able to pull on the hair and traction the scalp.

Then using a light touch, rap the skull ten times to stimulate the brain.

P2: Complete the massage of the feet. Replace the draping on the feet and tuck the client in.

10. Left Side: Shoulder, Ribs, Hips and Buttocks.

In this section of the sequence the client turns onto their right side, and one therapist massages the shoulder and ribs from the side, while the other massages the hips and buttocks from the side.

P1: Locate the warm massage oil and have it ready to apply. Locate the spare draping towel to use to cover the breast area for women. Then ask the client to roll over on their right side.

P1 and P2: Hold the draping in place as the client turns on their side. Work together to remove the draping from the client’s right shoulder, down to the end of their buttocks. Be prepared to place the spare draping towel to cover the breasts. Tuck in the draping around the lower hip to secure it.

P1: Pour oil into P2’s cupped hands and then into your own hand.

P2: Spread the oil on the client’s raised hip and buttock.

P1: Spread the oil on the client’s raised shoulder and exposed ribs.

To close this part of the sequence, stop gently together and re-cover the client with the draping, making sure to remove the spare breast draping if any.

Replace the face cradle and secure the draping to allow the client to roll over prone.

P1: Tell the client to turn and lie face down on the table, scooting-up to put their face in the face cradle.

11. Supine: Head and Feet.

In this section of the sequence the final touches are given to the head massage. P2 can prepare the next treatment, such as chakra anointment or shirodhara.

If no other treatment is scheduled, P2 assists by taking the feet of the client and grounding them.

P1: Ask the client to turn over onto their back and scoot down the table a little bit. Take position at the client’s head. Massage the client’s forehead, eyebrows, and zygomae.

With the client’s eyes closed, place your index, middle, and ring fingers over their lids. With very soft pressure, massage A-paan-ga, Eye of Love [37] , which spreads across the eyelid, and ends at the lateral corner of the eye. With a very gentle circular pressure you can dip your ring fingers into the lateral corner and massage the bony area.

A-paan-ga relaxes and rejuvenates the eyes, and can alleviate headaches.

P1: Massage the metopic suture, and then Stha-pa-nii, Inner Space [38] , located between the eyebrows at the Third Eye place. Remain in neutral energy when you touch this sacred area.

Stha-pa-nii is a sira, or vessel marma. Stha-pa-nii affects the nervous and endocrine systems. It affects the pituitary, inner vision, concentration, power, the senses, and reduces anxiety and headache.

Masage the client’s cheeks, jaw, and chin. Then smooth the entire face out.

12. Closing the Massage Sequence.

P1 and P2: Close the sequence by doing the long Abhyanga stroke from foot to shoulder and back five times.

Then stand at the feet and head of the client. Calmly ground the client energetically by passing peaceful and unifying energy through from head to toe. You can Om together or make a mantra or prayer, or just offer thanks and gratitude to your client to close the massage.

Appendix 1: Advice on Technique

Below are a few pointers on the different techniques specific to Ayurvedic massage including Marma and Abhbyanga.

Conscious breathing is essential to promote the flow of prana. During the session both therapists and client should release tension by exhaling fully. This type of massage has the potential to generate spontaneous pranayama if the client begins emotional release. So the therapists should be trained in conscious breath in order to maximize the massage.

To massage a marma point in this sequence use three counterclockwise circles to open the marma and release it. Place loving and healing energy into the marma through your fingers. Then use three clockwise strokes to close the marma and tonifiy it. As you work with marmas, you will develop an intuitive understanding of them. If the marma needs more than three strokes to fully release or to fully close, continue until you feel the work is complete.

Marmas are situated within the dhatus of snayu, mamsa, and asthi. While the word dhatu is translated as “tissue,” they also have consciousness. To have the greatest therapeutic effect, access the consciousness of the dhatu of each marma. In the case of shiro and sandhi marmas, the same is true, except the consciousness is dosha and guna. So the therapists should be trained in meditation and conscious intention in order to maximize the massage.

Mantra enhances the massage by taking it to a divine level. I have found the Devas Hanuman and Ganesha are specifically helpful. Chanting the bija mantras is best because you can exhale fully when you say them, and they do not require a lot of mental energy. Aum is also very good. But whatever mantra you can infuse the massage with will really help.

The names of the marmas are also mantras. The English translation are mantras for visualizing the meaning of each marma. So repeat the Sanskrit and then the English name when you are using the marma.

Appendix 2: Recommended Reading for Students of Marma

Recommendation 1: Secrets of Ayurvedic Massage.

An absolutely wonderful book. Great introduction. Wonderful writing.

Secrets of Ayurvedic Massage

By Atreya Craig Smith, Atreya

Edition: illustrated

Published by Lotus Press, 2000

ISBN 0914955497, 9780914955498

336 pages

Recommendation 2: Ayurveda and Marma Therapy.

Very easy to read, but you need to be really into marma and working with marma to get a lot out of it – it’s for practitioners of marma massage.

Ayurveda and Marma Therapy: Energy Points in Yogic Healing

By David Frawley, Subhash Ranade, Avinash Lele

Edition: illustrated

Published by Lotus Press, 2003

ISBN 0940985594, 9780940985599

272 pages

Recommendation 3: Marma Points of Ayurveda

Another book that is for people who are really working the points. If you are into TCM, this is the one for you.

Marma Points of Ayurveda: The Energy Pathways for Healing Body, Mind and Consciousness

By Vasant Lad, Dr Vasant Lad, Anisha Tambay

Published by Ayurvedic Press, 2006

ISBN 1883725089, 9781883725082

Recommendation 4: Massage Therapy for Diseases of Vital Areas

Really nice Indian book you can get from Nataraj. The author is very compassionate and wise. You can really get that from reading it.

Massage Therapy for Diseases of Vital Areas

By S. V. Govindam

Published by Abhinav Publications, 2004

ISBN 8170174465, 9788170174462

Recommendation 5: Massage Therapy in Ayurveda

Very clinical – but well worth reading and keeping for it’s reference section on oils.

Massage Therapy in Ayurveda

By Bhagwan Dash

Published by Concept Pub. Co. , 1992

Original from the University of California

Digitized Dec 14, 2006

192 pages

Recommendation 6: Atlas of Human Anatomy

Don’t leave home without it. Don’t wait until after school to buy it. This is a day one book. The greatest anatomy book on earth.

Atlas of Human Anatomy

By Frank Henry Netter, Arthur F. Dalley, Sharon Colacino

Illustrated by Frank Henry Netter

Edition: 2, illustrated

Published by Novartis, 1997

ISBN 0914168800, 9780914168805

525 pages

Recommendation 7: The Encyclopedia of Ayurvedic Massage

I have thumbed through it. Looks great.

The Encyclopedia of Ayurvedic Massage

By John Douillard

Edition: illustrated

Published by North Atlantic Books, 2004

ISBN 1556434936, 9781556434938

320 pages

Appendix 3: Sanskrit Definitions from the Cologne Sanskrit Lexicon

This section is comprised of the raw definition data from the Sanskrit dictionary. I have included it as a reference for those individuals interested in Sanskrit.

Marma from the verb mRi (death)

marman n. ( %{mR}) mortal spot , vulnerable point , any open or exposed or weak or sensitive part of the body (in Nir. reckoned to be 107) RV. &c. &c. ; the joint of a limb , any joint or articulation ib. ; the core of anything , the quick ib. ; any vital member or organ (cf. %{antar-m-}) ; anything which requires to be kept concealed , secret quality , hidden meaning , any secret or mystery MBh. Ka1v. &c.

abhyaGga m. rubbing with unctuous substances , inunction Mn. ii , 178 , &c. ; unguent Sus3r. &c.

abhyaJj P. to smear , anoint TS. AitBr. &c.: A1. to anoint one's self: A1. (3. pl. %{abhy@a4Jjate}) to decorate RV. ix , 86 , 43: A1. %{-aGkte4} , to decorate one's self TS. (quoted in Pa1n2. 2-3 , 62 Ka1s3.) ; (in Pass. sense ; p. %{-aJjAna4}) to be decorated RV. ii , 8 , 4.

abhyaJjaka mfn. (ifc.) rubbing (the feet) with unctuous substances Katha1s.

abhyaJjana n. rubbing with unctuous substances , inunction (especially of the feet , once [BhP.] said of the hairs) Ka1tyS3r. Mn. &c. ; unguent (used for rubbing the feet ; cf. %{A74Jjana}) S3Br. &c. ; (5) ornament , embellishment RV.

kSipra mf(%{A})n. (compar. %{kSe4pIyas} , superl. %{kSe4piSTha} , qq. vv.) springing , flying back with a spring , elastic (as a bow) RV. ii , 24 , 8 ; quick , speedy , swift S3Br. vi ; ix ; (said of certain lunar mansions) VarBr2S. ; m. N. of a son of Kr2ishn2a Hariv. 9195 ; (%{a4m}) ind. (Naigh ii , 15) quickly , immediately , directly AV. S3Br. iv ; v ; xiii Mn. MBh. &c. ; (%{am}) n. a measure of time (= 1/15 Muhu1rta or 15 Etarhis) S3Br. xii , 3 , 2 , 5 ; the part of the hand between the thumb and forefinger and the corresponding part of the foot Sus3r. ; (%{A4}) ind. (Ved. acc. pl. n.) with a shot RV. iv , 8 , 8 ; (%{At}) abl. ind. directly , immediately Katha1s. ; (%{e4}) loc. ind. id. S3Br. i ; iv ; v ; x ; [cf. Gk. $]

tala (m. L.) n. ( %{stR}) surface , level , flat roof(of a house) MBh. &c. (chiefly ifc. [f. %{A} R. v , 13] cf. %{nabhas-} , %{mahI-} &c.) ; the part underneath , lower part , base , bottom Mn. ii , 59 VarBr2S. Pan5cat. &c. (cf. %{adhas-} , %{taru-} &c.) [440,3] ; (m. n.) the palm (of the hand see %{kara-} , %{pANi-}) R. ii , 104 , 17 S3ak. Ragh. vi , 18 ; the sole (of the foot , %{aGghri-} , %{pAda-}) MBh. i VarBr2S. ; (without %{kara-} &c.) the palm of the hand (%{anyo@'nyasya} , or %{parasparaM@talaM} or %{-lAn-dA} , to slap each other with the palms of the hands) MBh. Hariv. R. Sus3r. ; (n. L. ; m.) the sole of the foot R. v , 13 , 47 ; (m.) the fore-arm L. ; = %{tAla} (a span L. ; the handle of a sword L. ; the palmyra tree Viddh. ii , 13) ; pressing the strings of a lute with the left hand MBh. viii ; m. N. of a hell A1run2Up. S3ivaP. (cf. %{talA7tala}) ; S3iva MBh. xiii , 17 , 130 ; N. of a teacher g. %{zaunakA7di} ; n. = %{-hRdaya} L. ; = %{talka} L. ; = %{talaka} (q.v.) L. ; = %{talla} (q.v.) L. ; the root or seed of events L. ; = %{-tra} A1s3vGr2. iii , 12 , 11 (%{tala}) MBh. R. ; (%{A}) f. id. L. ; N. of a daughter of Raudra7s3va Va1yuP. ii , 37 , 122 ; cf. %{a-} , %{jihvA-} , %{ni-} , %{nis-} , %{pra-} , %{mahA-} , %{rasA-} , %{vi-} , %{su-}.

hRdaya n. (ifc. f. %{A}) the heart (or region of the heart as the seat of feelings and sensations ; %{hRdaye-kR} , `" to take to heart "') , soul , mind (as the seat of mental operations ; %{capala-hRdaya} , `" fickleminded "') RV. &c. &c. ; the heart or interior of the body RV. AV. TBr. MBh. ; the heart or centre or core or essence or best or dearest or most secret part of anything AV. &c. &c. ; true or divine knowledge MW. ; the Veda ib. ; science ib. ; (with %{prajApateH}) N. of a Sa1man IndSt. ; m. a partic. Sunday BhavP. ; (%{A}) f. N. of a mare Hariv. ; mfn. going to the heart Bha1gP. (fr. %{hRd} + %{aya} Sch.)

maNi m. (%{i} f. only L. ; %{I} f. Sin6ha7s. ; %{maNI7va} = %{maNI} [du.] %{iva} Naish.) a jewel , gem , pearl (also fig.) , any ornament or amulet , globule , crystal RV. &c. &c. ; a magnet , loadstone Kap. ; glans penis Sus3r. ; N. of the jewel-lotus prayer MWB. 37 2 ; clitoris L. ; the hump (of a camel) MBh. ; the dependent fleshy excrescences on a goat's neck VarBr2S. ; thyroid cartilage L. (cf. %{kaNTha-m-}) ; the wrist (= %{mñmaNi4-bandha}) L. ; a large water-jar L. ; N. of a Na1ga MBh. ; of a companion of Skanda (associated with Su-man2i) ib. ; of a sage ib. ; of a son of Yuyudha1na ib. (in Hariv. v.l. %{tUNi}) ; of a king of the Kim-n2aras , Ka1ran2d. ; of various wks. and a collection of magical formulas (also abridged for Tattva-cinta1man2i and Siddha7nta-s3iroman2i). [Cf. Gk. &235359[774 ,3] $ , $ ; Lat. {monile} ; Germ. {mane} , {Ma1hne} ; Eng. {mane}.]

bandha m. binding , tying , a bond , tie , chain , fetter RV. &c. &c. ; a ligature , bandage Sus3r. ; damming up (a river) Ma1rkP. ; capture , arrest , imprisonment , custody Mn. MBh. &c. ; connection or intercourse with (comp.) Pan5cat. BhP. (ifc. = connected with , conducive to MBh.) ; putting together , uniting , contracting , combining , forming , producing MBh. Ka1v. &c. ; joining (the hollowed hands) Ragh. ; anything deposited (%{-dhe-sthA} = to remain deposited) Campak. ; a deposit , pledge Ra1jat. ; any configuration or position of the body (esp. of the hands and feet) Ragh. Kum. ; a partic. mode of sexual union (there are said to be 16 , 18 , 36 , or even 84 L.) , Caur. ; constructing , building (of a bridge &c.) MBh. Ra1jat. ; bridging over (the sea) Vcar. ; knitting (the brows) Ra1jat. ; fixing , directing (mind , eyes , &c.) Cat. ; assumption , obtainment (of a body) Ragh. ; (ifc.) conceiving , cherishing , feeling , betraying Hariv. Ka1lid. ; a border , framework , inclosure , receptacle L. ; a sinew , tendon L. ; the body L. ; (in phil.) mundane bondage , attachment to this world S3vetUp. Bhag. &c. (opp. to %{mukti} , %{mokSa} , `" final emancipation "' , and regarded in the Sa1m2khya as threefold , viz. %{prakRti-} , %{vaikArika-} , and %{dakSiNA-b-}) ; combination of sounds (in rhet.) , construction or arrangement of words Ka1vya7d. Prata1p. ; arrangement of a stanza in a partic. shape Kpr. ; arrangement of musical sounds , composition S3atr. ; a disease which prevents the eyelids from quite closing Sus3r. ; (ifc. with numerals) a part (cf. %{paJca-} , %{daza-b-}).

1 indra m. (for etym. as given by native authorities see Nir. x , 8 Sa1y. on RV. i , 3 , 4 Un2. ii , 28 ; according to BRD. fr. %{in} = %{inv} with suff. %{ra} preceded by inserted %{d} , meaning `" to subdue , conquer "' [166,2] ; according to Muir , S. T. v , 119 , for %{sindra} fr. %{syand} , `" to drop "' ; more probably from %{ind} , `" to drop "' q.v. , and connected with %{indu} above) , the god of the atmosphere and sky ; the Indian Jupiter Pluvius or lord of rain (who in Vedic mythology reigns over the deities of the intermediate region or atmosphere ; he fights against and conquers with his thunder-bolt [%{vajra}] the demons of darkness , and is in general a symbol of generous heroism ; %{indra} was not originally lord of the gods of the sky , but his deeds were most useful to mankind , and he was therefore addressed in prayers and hymns more than any other deity , and ultimately superseded the more lofty and spiritual Varun2a ; in the later mythology %{indra} is subordinated to the triad Brahman , Vishn2u , and S3iva , but remained the chief of all other deities in the popular mind) RV. AV. S3Br. Mn. MBh. R. &c. &c. ; (he is also regent of the east quarter , and considered one of the twelve A1dityas) Mn. R. Sus3r. &c. ; in the Veda1nta he is identified with the supreme being ; a prince ; ifc. best , excellent , the first , the chief (of any class of objects ; cf. %{sure7ndra} , %{rAje7ndra} , %{parvate7ndra} , &c.) Mn. Hit. ; the pupil of the right eye (that of the left being called Indra1n2i1 or Indra's wife) S3Br. Br2A1rUp. ; the number fourteen , Su1ryas ; N. of a grammarian ; of a physician ; the plant Wrightia Antidysenterica (see %{kuTaja}) L. ; a vegetable poison L. ; the twenty-sixth Yoga or division of a circle on the plane of the ecliptic ; the Yoga star in the twenty-sixth Nakshatra , $ Pegasi ; the human soul , the portion of spirit residing in the body ; night L. ; one of the nine divisions of Jambu-dvi1pa or the known continent L. ; (%{A}) f. the wife of Indra see %{indrANI} ; N. of a plant L. ; (%{I}) f. N. of an attendant of Devi1.

iSvastra n. `" arrow-thrower "' , a bow Ragh. R.

kUrpara m. the elbow Sus3r. Das3. Ba1lar. Comm. on Ka1tyS3r: the knee L. ; N. of a village ; (%{A}) f. the elbow L.

kRka m. the throat , larynx L. (cf. %{kR4kATa}) ; the navel Comm. on Un2. i , 6.

kRkATa n. the joint of the neck AV. ix , 7 , 1 ; (%{I}) f. id. VarBr2S. li , 9.

kRkATaka n. the neck L. ; a part of a column R. VarBr2S. ; (%{ikA}) f. the joint of the neck Sus3r.

kUrca m. rarely n. (g. %{ardharcA7di}) a bunch of anything , bundle of grass , &c. (often used as a seat) TS. vii S3Br. &c. ; a fan , brush NarasP. ; a handful of Kus3a grass or peacock's feathers Comm. on MBh. ; m. (n. L.) `" ball , roll "'N. of certain parts of the human body (as the hands , feet , neck , and the membrum virile) Sus3r. [300,2] ; the upper part of the nose (the part between the eyebrows) L. ; (%{as} L. ; %{am}) m. n. the beard Ka1d. Ra1jat. BhavP. ; (beard of a buck) Comm. on Ka1tyS3r. ; (Pra1kr2it {kucca}) S3ak. ; the tip of the thumb and middle finger brought in contact so as to pinch &c. W. ; deceit , fraud , hypocrisy L. ; false praise , unmerited commendation either of one's self or another person , boasting , flattery L. ; hardness , solidity L. ; m. the head L. ; a store-room L. ; the mystical syllable %{huM} , or %{hrUM}.

kUrpara m. the elbow Sus3r. Das3. Ba1lar. Comm. on Ka1tyS3r: the knee L. ; N. of a village ; (%{A}) f. the elbow L

urvI f. (cf. %{uru4}) , `" the wide one "' , the wide earth , earth , soil RV. i , 46 , 2 ; ii , 4 , 7 S3ak. Mn. &c. ; (%{vI4}) f. du. `" the two wide ones "' , heaven and earth RV. vi , 10 , 4 ; x , 12 , 3 ; 88 , 14 ; (%{vya4s}) f. pl. (with and without %{SaS}) the six spaces (viz. the four quarters of the sky with the upper and lower spaces) RV. AV. ; (also applied to heaven , earth , day , night , water , and vegetation) S3a1n3khS3r. ; (also to fire , earth , water , wind , day and night) S3Br. i , 5 , 1 , 22 ; rivers Nir.

UrvI f. the middle of the thigh Sus3r. [221,3]

nAbhi f. (prob. fr. 1. %{nabh} , `" to burst asunder or into a hole "' ; ifc. f. %{i} or %{I} Va1m. v , 49) the navel (also nñnavel-string cf. %{-kRntana}) , a navel-like cavity RV. &c. &c. (in later language also m. and %{-bhI} f.) ; the nave of a wheel ib. (also m. L. , and %{-bhI} f.) ; centre , central point , pñpoint of junction or of departure , home , origin , esp. common oñorigin , affinity , relationship ; a near relation or friend ib. (m. L.) ; musk: (= %{mRra-n-}) L. ; m. or f. musk-deer Megh. 53 (?) BhP. ; m. a chief (= central point) of (gen.) Ragh. xviii , 19 (cf. %{maNDala-nAbhi-tA}) ; a sovereign or lord paramount (= %{mukhya-rAj}) L. ; a Kshatriya L. ; N. of a grandson of Priya-vrata (son of Agnidhra and father of R2ishabha) Pur. ; of the father of R2ishabha (first Arhat of the present Avasarpin2i) L. [Cf. Angl. Sax. {nafu} , {nafela} ; Germ. {naba} , {Nabe} , {nabolo} , {Nabel} ; Eng. {nave} , {navel}.]

manyA f. du. and pl. the back or the nape of the neck (musculus cucullaris or trapezius) AV. VS. Sus3r. ; m. (l) the middle of an elephant's goad L.

mAnya mfn. to be respected or honoured , worthy of honour , respectable , venerable Mn. MBh. &c. ; (%{mAnya4}) m. patr. fr. 1. %{mA4na} RV. i , 163 , 14 , &c. ; N. of Maitra1varun2i (author of RV.viii , 67) RAnukr.

manyAgata mfn. being on the nape of the neck Sus3r.

manyAgraha m. spasm or contraction of the neck Sus3r. S3a1rn3gS.

manyAkA f. the nape of the neck L

FROM http://srimadbhagavatam.com/m/manya

manya-mānaḥ — thinking; SB 9.14.42
mānya-gaṇa — respectable members; CC Adi 3.94
mānya — honor; CC Adi 10.140
loka-mānya kalevara — the body beloved by the people in general; CC Adi 13.119
mānya — respectable; CC Madhya 6.54
mānya kari' — offering respect; CC Madhya 9.292
mānya kari' — with great respect; CC Madhya 9.349
mānya — respectable; CC Madhya 10.142
mānya-pātra — honorable; CC Madhya 11.83
mānya kari' — offering respect; CC Madhya 19.87
mānya-pūjā — respect and worship; CC Madhya 21.63
mānya-māna-kṛt — respectful to the respectable; CC Madhya 23.73
mānya-pātra — worshipable object; CC Antya 5.142
mānya kari' — giving honor; CC Antya 6.64
mānya kari' — with great respect; CC Antya 7.6
mānya kari' — with great honor; CC Antya 7.135

From http://www.biology-online.org/dictionary/Mane

Mane The long and heavy hair growing on the upper side of, or about, the neck of some quadrupedal animals, as the horse, the lion, etc. Origin: as. Manu; akin to od. Mane, D. Maan, g. Mahne, OHG. Mana, Icel. Mon, dan. & Sw. Man, as. Mene necklace, Icel. Men, L. Monile, gr, Skr. Manya neck muscles.

sirA f. (fr. %{sR}) a stream , water RV. i , 121 (cf. Naigh. i , 12 ; often written %{zirA}) ; any tubular vessel of the body , a nerve , vein , artery , tendon &c. Sus3r. Ya1jn5. MBh. &c. ; a vein-like channel or narrow stream of river water VarBr2S. ; lines which cross each other like veins ib. ; a bucket , baling-vessel L.

sirAmUla n. `" root of the veins "' , the navel ib.

mAtrika (ifc.) all , every kind of (e.g. %{mRgamAtrika} pl. all kinds of deer) Sus3r. ; f. a prosodial instant , mora RPra1t. (mfn. containing one prosodial instant or mora VPra1t. Sch.) ; a model , paragon Ba1lar.

mAtRkA f. a mother (also fig. = source , origin) Ka1v. Katha1s. Pur. ; a divine mother (cf. under %{mAtR}) RTL. 188 ; a nurse L. ; a grandmother Das3. ; N. of 8 veins on both sides of the neck (prob. so called after the 8 divine mñmother) Sus3r. ; N. of partic. diagrams (written in characters to which a magical power is ascribed ; also the alphabet so employed ; prob. only the 14 vowels with Anusva1ra and Visarga were originally so called after the 16 divñdivine mñmagical) Ra1matUp. Pan5car. ; any alphabet Hcat. ; (pl.) Lalit. ; a wooden peg driven into the ground for the support of the staff of Indra's banner VarBr2S. ; N. of the wks. included in the Abhidharsna-pit2aka Buddh. ; of the wife of Aryaman BhP. ; = %{karaNa} L.

http://en.wikipedia.org/wiki/Matrikas

AkAza m. (Ved.) or (later) n. (ifc. f. %{A}) a free or open space , vacuity AitBr. S3Br. MBh. &c. [127,1] ; the ether , sky or atmosphere Naigh. S3Br. Mn. &c. ; (%{am}) n. (in philos.) the subtle and ethereal fluid (supposed to fill and pervade the universe and to be the peculiar vehicle of life and of sound) Veda1ntas. &c. ; Brahma (as identical with ether) L. ; = %{AkAza-bhASita} below Comm. on S3ak. ; (%{e}) loc. ind. in the air (a stage direction implying something said by or to a person out of sight) Mr2icch. S3ak. &c.

akSaka m. Dalbergia Oujeinensis ; (%{as} , %{am}) m. n. the collar-bone Sus3r. ; (%{I}) f. N. of a creeping plant.

1 akSa 1 m. an axle , axis (in this sense also n. L.) ; a wheel , car , cart ; the beam of a balance or string which holds the pivot of the beam ; a snake L. ; terrestrial latitude (cf. %{-karNa} , %{-bhA} , %{-bhAga}) ; the collar-bone S3Br. ; the temporal bone Ya1jn5. ; N. of a measure (= 104 an3gula) ; [cf. Lat. {axis} ; Gk. $ ; Old Germ. {ahsa} ; &634[3,1] Mod. Germ. {Achse} ; Lith. {assis}.]

akSa 3 n. an organ of sense ; sensual perception L. ; m. the soul L. ; knowledge , religious knowledge L. ; a lawsuit L. ; a person born blind L. ; N. of Garud2a L. ; of a son of Ra1van2a ; of a son of Nara , &c.

nIla mf(%{A} or %{I} ; cf. Pa1n2. 4-1 , 42 Va1rtt. Va1m. v , 2 , 48)n. of a dark colour , (esp.) dñdark-blue or dñdark-green or black RV. &c. &c. ; dyed with indigo Pa1n2. 4-2 , 2 Va1rtt. 2 Pat. ; m. the sapphire L. (with %{maNi} R. iii , 58 , 26) ; the Indian fig-tree (= %{vaTa}) L. ; = %{nIla-vRkSa} L. ; a species of bird the blue or hill Maina L. ; an ox or bull of a dark colour L. ; one of the 9 Nidhis or divine treasures of Kubera L. ; N. of a man g. %{tikA7di} ; of the prince of Ma1hishmati1 MBh. ; of a son of Yadu Hariv. ; of a son of Aja-mi1d2ha BhP. ; of a son of Bhuvana-ra1ja Ra1jat. ; of an historian of Kas3mi1ra ib. ; of sev. authors (also %{-bhaTTa}) Cat. ; N. of Man5jus3ri1 L. ; of a Na1ga MBh. Ra1jat. ; of one of the monkey-chiefs attending on Ra1ma (said to be a son of Agni) MBh. R. &c. ; the mountain Ni1la or the blue mñmountain (immediately north of Ila7vr2ita or the central division ; cf. %{nIlA7dri}) MBh. Hariv. Pur. ; (%{A}) f. the indigo plant (Indigofera Tinctoria) L. (cf. %{nIlI}) ; a species of Boerhavia with blue blossoms L. ; black cumin L. ; a species of blue fly L. ; (du.) the two arteries in front of the neck L. ; a black and blue mark on the skin L. ; N. of a goddess W. ; (in music) of a Ra1gin2i (personified as wife of Malla1ra) ; of a river MBh. (v.l. %{nAlA}) ; (%{I}) f. the indigo plant or dye Mn. Var. Sus3r. &c. Blyxa Octandra. L. ; a species of blue fly L. ; a kind of disease L. ; N. of the wife of Aja-mi1d2ha MBh. Hariv. (v.l. %{nalinI} and %{nIlinI}) ; n. dark (the colour) , darkness TS. KaushUp. ; any dark substance S3Br. ChUp. ; = %{tAlI-pattra} and %{tAlI7za} L. ; indigo Ya1jn5. iii. 38 ; black salt L. ; blue vitriol L. ; antimony L. ; poison L. ; a partic. position in dancing L. ; a kind of metre Col.

UrvI f. the middle of the thigh Sus3r. [221,3]

uru mf(%{vI4})n. (1. %{vR} ; %{UrNu} Un2. i , 32) , wide , broad , spacious , extended , great , large , much , excessive , excellent RV. AV. MBh. Ragh. ; (%{us}) m. N. of an A1n3girasa A1rshBr. ; of a son of the fourteenth Manu BhP. VP. ; (%{vI}) f. the earth ; see %{urvI4} , p. 218 , col. 1 ; (%{u}) n. wide space , space , room RV. (with %{kR} , to grant space or scope , give opportunity RV.) ; (%{u}) ind. widely , far , far off RV. ; (%{uruyA4} MaitrS. ; 1. %{urvyA4} and %{urviyA4} instr. of the fem.) ind. far , far off , to a distance RV. VS. TS. ; compar. %{varIyas} , superl. %{variSTha} ; [cf. Gk. $ , $ , &c.: Hib. { ur } , `" very "' ; &68196[217 ,3] %{uras} , `" power , ability. "'] 2

Uru m. [the f. may be %{U} at the end of compounds in comparison Pa1n2. 4-1 , 69] , (fr. %{UrNu} Un2. i , 31) the thigh , shank RV. AV. VS. TS. S3Br. MBh. Mn. &c. ; N. of an A1n3girasa and author of a Vedic hymn ; N. of a son of Manu Ca1kshusha.

aNi m. or the point of a needle or of a sharp stake L.

aNI f. the point of a needle or of a sharp stake L. ; linch-pin L. ; the pin or bolt at the end of the pole of a carriage L. ; the corner or part of a house L. ; a boundary L.

ANi m. (cf. %{aNi}) the pin of the axle of a cart RV. i , 35 , 6 ; 63 , 3 [`" battle "' Naigh. ii , 17] and v , 43 , 8 ; the part of the leg just above the knee Sus3r. ; (%{is}) mf. a linch-pin L. ; the corner of a house L. ; a boundary L.

jAnu n. (rarely m. MBh. iv , 1115 Ra1jat. iii , 345) the knee RV. x , 15 , 6 AV.ixf. VS. &c. (%{-nubhyAm@avaniM-gam} `" to fall to the ground on one's knees "' MBh. , xiii , 935) ; (as a measure of length) = 32 An3gulas S3ulbas. ; [cf. $ Lat. {genu} ; Goth. {kniu} ; Germ. {Knie}.]

indravasti m. the calf (of the leg) Sus3r.

vatsadanta m. `" calf-toothed "' , a kind of arrow (having a point like a calf's tooth) MBh. R. (also %{-taka}) ; N. of a mythical person Virac. ; n. an arrow point like a calf's tooth S3a1rn3gP.

iSvastra n. `" arrow-thrower "' , a bow Ragh. R.

gulpha m. (= %{kulpha4} ; %{gal} Un2. v) the ancle AV. x , 2 , 1 f. Kaus3. Ya1jn5. iii , 86 MBh. &c. (ifc. f. %{A} [Pa1n2. 4-1 , 54 Ka1s3.] MBh. iv , 253).

gulphajAha n. the root of the ancle g. %{karNA7di}.

gulphinI f. (for %{-lminI} ?) an army Gal.

gulphita n. (= %{guSpita4}) accumulation A1pS3r. x , 10 , 3 (= xiii , 7 , 16) (cf. %{vi-gulpha}.)

guluccha m. (= %{guccha}) a bunch , nosegay , cluster of blossoms L.

gulucchakanda m. N. of a bulbous root L. (v.l. %{-laJca-k-}).

nitamba m. the buttocks or hinder parts (esp. of a woman ; mostly du. ; ifc. f. %{A} ; %{-tA} f.) ; (fig.) the ridge or side or swell of a mountain , the sloping bank or shore of a river MBh. Ka1v. &c. ; the shoulder L. [547,2] ; the sounding-board of the Vi1n2a1 Ka1v. ; a partic. position of the hands in dancing Cat. ; (%{A}) f. a form of Durga1 Cat. ; %{-prabhava} mfn. (river) coming from the slope of a mountain BhP.

bRhatI f. fr. %{bRka4t}N. of a partic. metre of 36 (orig. 8+ 8+12+8) syllables or (later) anymetre containing 36 syllables (ifc. %{-tIka} mfn. ) RV. RPra1t. AV. Br. &c. ; a symbolical expression for the number 36 S3rS. ; (pl.) N. of partic. bricks forming part of the sacrificial fire-altar S3Br. S3ulbas. ; a partic. Solanum (%{-dvaya} n. two species of it) , Saln3khGr2. Sus3r. ; a part of the body between the breast and backbone Sus3r. ; (du.) heaven and earth Gal. ; speech (a sense inferred from certain passages) ; a mantle , wrapper L. ; a place containing water , reservoir L. ; the lute of Na1rada or Vis3va1-vasu L. ; N. of two wks. ; N. of sev. women Hariv. BhP.

bRhat mf(%{atI4})n. (in later language usually written %{vRhat}) lofty , high , tall , great , large , wide , vast , abundant , compact , solid , massy , strong , mighty RV. &c. &c. ; full-grown , old RV. ; extended or bright (as a luminous body) ib. ; clear , loud (said of sounds) ib. ; m. N. of a Marut Hariv. ; of a prince MBh. ; of a son of Su-hotra and father of Aja-mid2ha Hariv. m. or n. (?) speech (%{-tAm@pati} = %{bRhaspati}) S3is3. ii , 26 ; (%{tI}) f. see s.v. ; n. height (also= heaven , sky) RV. ; N. of various Sa1mans composed in the metrical form Br2ihati1 (also with %{Aneyam} , %{bharad-vAjasya}. %{bhAradvAjam} , %{vAmadevyam} , %{sauram}) A1rshBr. [736,1] ; N. of Brahman , Bhp. ; of the Veda ib. ; (%{a4t}) ind. far and wide , on high RV. ; firmly , compactly ib. ; brightly ib. ; greatly , much ib. ; aloud ib. (also %{atA4} AV.)

aMsaphalaka n. shoulderblade S3Br. Sus3r.

aMsa m. the shoulder , shoulder-blade ; corner of a quadrangle ; N. of a king ; (%{au}) m. du. the two shoulders or angles of an altar ; a share (for %{aMza}) ; [cf. Goth. {amsa} ; Gk. $ , $ ; Lat. {humerus} , &124[1 ,2] {ansa}.]

phalaka (ifc. f. %{ikA}) = %{phala} , fruit , result , gain (%{-tva} n.) Kull. on Mn. ii , 146 ; menstruation (cf. %{nava-phalikA}) ; (%{pha4laka}) n. (m. g. %{ardharcA7di} ; ifc. f. %{A}) a board , lath , plank , leaf. bench Br. Gr2S3rS. , &c. ; a slab or tablet (for writing or painting on ; also = page , leaf) Ka1v. Ya1jn5. Sch. Lalit. ; a picture (= %{citra-ph-}). Mr2icch. iv , 3/4 ; a gamingboard (cf. %{zAri-ph-}) ; a wooden bench MBh. ; a slab at the base (of a pedestal ; cf. %{sphaTika-ph-}) ; any flat surface (often in comp. with parts of the body , applied to broad flat bones cf. %{aMsa-} , %{phaNA-} , %{lalATa-ph-} &c.) ; the palm of the hand S3Br. ; the buttocks L. ; the top or head of an arrow Kull. on Mn. vii , 90 ; a shield MBh. ; bark (as a material for clothes) MBh. Hariv. ; the pericarp of a lotus S3is3. ; = %{-yantra} Gol. ; a layer W. ; the stand on which a monk keeps his turban Buddh. ; m. Mesua Roxburghii L. ; (%{A} or %{ikA}) f. see below.

phalakA f. v.l. for %{halakA} g. %{pre7kSA7di}.

hAla m. = %{hala} , a plough L. ; a `" scraper "' (kind of bird) Sus3r. Sch. ; N. of Bala-ra1ma (cf. %{haladhara}) L. ; of Sa1tavahana Cat. ; of a king (son of Arishta-karman) VP. ; (%{A}) f. spirituous liquor (a provincial term accord. to Va1m. v , 1 , 13 ; (%{I}) f. a wife's younger sister L.

guda m. an intestine , entrail , rectum , anus VS. TS. vi S3Br. iii , viii Kaus3. &c. ; (ifc. f. %{A} g. %{krodA7di} [or %{I} g. %{bahv-Adi} , not in Ka1s3. and in g. %{zoNA7di}]) ; n. id. ; m. du. with %{kauSThyau} , the two intestines Ya1jn5. iii , 95 ; (%{gu4dAs}) f. pl. the bowels RV. x , 163 , 3 VS. AV. ix-xi S3Br. x , xii.

gu 2 ifc. `" going "' see %{a4dhri-gu} , %{vanar-gu4} (cf. also %{priya4Mgu} , %{zAci-gu}) ; `" fit for "' see %{tAta-gu} , %{nigu} (cf. %{agre-gU4}.)

gu 3 cl. 1 A1. %{gavate} , to sound Dha1tup. xxii , 52: Intens. A1. (1. and 3. sg. %{jo4guve} , p. %{jo4guvAna}) `" to cause to sound "' , proclaim RV. i , 61 , 14 ; v , 64 , 2 TBr. ii Ka1t2h. xiii , 11 f.: P. (impf. %{agaGgUyat} for %{aguGg-}) to shout with joy Ta1n2d2yaBr. xiv , 3 , 19 (cf. %{prati-} 3. %{gu} and %{jo4gU}.) [356,2]

gu 4 (= 1. %{gU} q.v.) cl. 6. P. %{guvati} , to void by stool Dha1tup. xxviii , 106 (cf. %{vi-gUna}.)

gu 5 ifc. = %{go4} , `" cow ; earth ; ray "' (Pa1n2. 1-2 , 48) see %{a4-gu} , %{anu-gu} , %{anuSNa-gu} , %{a4riSTagu} , %{upa-gu} , %{uSNa-gu} , %{kRza4-gu} , %{tamo-gu} , &c. ; (%{u}) n. water L. ; the hair on the body L.

zaGkha m. n. (ifc. f. %{A}) a shell , (esp.) the conch-shell (used for making libations of water or as an ornament for the arms or for the temples of an elephant ; a conch-shell perforated at one end is also used as a wind instrument or horn ; in the battles of epic poetry, each hero being represented as provided with a conch-shell which serves as his horn or trumpet and of ten has a name) AV. &c. &c. IW. 403 ; a partic. high number (said to = a hundred billions or 100 , 000 krores) MBh. ; m. the temporal bone , temple (accord. to some also , the bone of the forehead "' or , frontal bone "') Ya1jn5. MBh. &c. ; an elephant's cheek or the part between the tusks (%{hasti-danta-madhya}) L. ; N. of the teeth of an elephant 23 years old VarBr2S. ; Unguis Odoratus L. ; a partic. Mantra Gobh. ; a kind of metre , Ked N. of one of Kubera's treasures and of the being presiding over it MBh. Ka1v. &c. ; a military drum or other martial instrument W. ; N. of one of the 8 chiefs of the Na1gas (q.v.) MBh. Hariv. Pur. [1047,3] ; of a Daitya (who conquered the gods , stole the Vedas , and carried them off to the bottom of the sea , from whence they were recovered by Vishn2u in the form of a fish) ib. ; of a demon dangerous to children A1pGr2. Sch. ; of a mythical elephant R. ; N. of various men (pl. N. of a Gotra) AV. &c. &c. ; of a son of Vira1t2a MBh. ; of a son of Vajra-na1bha Hariv. Pur. ; of a law-giver (often mentioned together with his brother Likhita , q.v.) Ya1jn5. MBh. &c. (cf. comp. below) ; of the author of RV. x , 15 (having the patr. Ya1ma1yana) Anukr. ; of another poet Cat. ; of a country in the south of India (said to abound in shells) VarBr2S. (cf. g. %{zaNDikA7di}) ; of a mountain Hariv. Pur. ; of a forest VP. ; (%{A}) f. a kind of flute Sam2gi1t. [Cf. Gk. , $ ; Lat. {concha} , &317094[1047 ,3] {cangius}.]

apAGga mfn. without limbs or without a body L. ; m. (ifc. f. %{A} , or %{I}) the outer corner of the eye S3a1k. &c. ; a sectarial mark or circlet on the forehead R. ; N. of Ka1ma (the god of love) L. ; = %{apA7mArga4} L.

apAGgadarzana n. or a side glance , a leer.

apAGgadesa m. the place round the outer corner of the eye.

apAGgadRSTi f. a side glance , a leer.

apAGgaka m. = %{apA7mArga4}.

apAGganetra mf(%{A})n. casting side glances Vikr.

ApAGgya n. (fr. %{apA7Gga}) , anointing the corners of the eyes Sus3r.

sthapanI f. the space between the eye-brows (v.l. %{sthapaNI}) Sus3r.

2 sthApana mfn. (fr. Caus.) causing to stand &c. ; maintaining , preserving (see %{vayaH-sth-}) ; fixing , determining Sa1h. ; (%{A}) f. the act of causing to stand firmly or fixing , supporting (as an attribute of the earth) MBh. Hcat. ; storing , keeping , preserving Campak. ; fixed order or regulation ib. ; establishing , establishment , dialectical proof (of a proposition ib. Car. Sarvad. ; arranging , regulating or directing (as a drama &c.) , stage-management (cf. %{sthA-paka}) W. ; (%{I}) f. Clypea Hernandifolia L. ; (%{am}) n. causing to stand , fixing , establishing , founding , instituting , raising , erecting (an image &c.) VarBr2S. Inscr. ; putting or placing or laying upon (comp.) Sus3r. Naish. Sch. ; fastening , fixing , rendering immovable BhP. ; hanging , suspending Cat. ; strengthening (of the limbs) , preservation or prolongation (of life) or a means of strengthening &c. Sus3r. Car. ; a means of stopping (the flow of blood) , styptic ib. ; storage (of grain) Kr2ishis. ; establishment or dialectical proof of a proposition Madhus. ; statement , definition Sa1h. ; a partic. process to which quicksilver is subjected Sarvad. ; = %{puM-savana} L. ; fixing the thoughts , abstraction W. ; a dwelling , habitation ib.

nADi 2 f. any tube or pipe , (esp.) a tubular organ (as a vein or artery of the body) BhP. (cf. %{nADI}).

adhipati m. = %{adhi-pa} ; (in med.) a particular part of the head (where a wound proves instantly fatal).

adhi 2 ind. , as a prefix to verbs and nouns , expresses above , over and above , besides. As a separable adverb or preposition ; (with abl.) Ved. over ; from above , from ; from the presence of ; after AitUp. ; for ; instead of RV. i , 140 , 11 , (with loc.) Ved. over ; on ; at ; in comparision with ; (with acc.) over , upon , concerning.

pati 1 m. (cf. 1. %{vat} ; when uncompounded and meaning `" husband "' instr. %{pa4tya} ; dat. %{pa4tye} ; gen. abl. %{pa4tyur} ; loc. %{pa4tyau} ; but when meaning `" lord , master "' , and ifc. regularly inflected with exceptions ; cf. Pa1n2. 1-4 , 8 ; 9) a master , owner , possessor , lord , ruler , sovereign RV. &c. &c. ; a husband ib. (in comp. either with the stem or with the gen. , e.g. %{duhitR-p-} or %{-tuH-p-} Pa1n2. 6-3 , 24 ; when mfn. f. = m. e.g. %{-jIvat-patyA@tvayA} R. ii , 24 , 8 , or %{patikA} e.g. %{pramIta-patikA} Mn. ix , 68) ; one of the 2 entities (with %{pAzupata4s}) RTL. 89 ; a root L. ; f. a female possessor , mistress Pa1n2. 4-1 , 33 Sch. ; a wife (%{vRddha-p-} = %{-patnI} , the wñwife of an old man ib. 34 Sch.) [Cf. Gk. $ , `" husband "' ; &178937[582 ,1] Lat. {potis} , %{pos-sum} for %{potis-sum} ; Lith. {patis} , `" husband "' ; Goth. ({bruth-}) {faths} , `" bridegroom "']

sImanta m. (ifc. %{A} ; cf. %{sImA7nta}) parting of the hair AV. Gr2S3rS. MBh. &c. ; = %{sImanto7n-nayana} below Ya1jn5. i , 11 ; a line of separation on the human body (14 are enumerated , corresponding to the joints of the bones or Asthi-sam2gha1tas) Sus3r. ; a boundary , limit MBh. ; N. of a son of king Bhadra-sena Cat. ; of a poet ib.

apastamba m. a vessel inside or on one side of the chest containing vital air Bhpr.

apas 1 %{as} n. (fr. 1. %{a4p}) , work , action , especially sacred act , sacrificial act RV. [Lat. %{opus}.]

apas mfn. active , skilful in any art RV. ; (%{a4sas}) f. pl.N. of the hands and fingers (when employed in kindling the sacred fire and in performing the sacrifices) RV. ; of the three goddesses of sacred speech RV. VS. ; of the active or running waters RV. AV.

apas mfn. (fr. 2. %{a4p}) , watery. (So some passages of the R2ig-veda [i , 95 , 4 , &c.] may (according to NBD. and others) be translated where the word is applied to the running waters see 2. %{apa4s} at end and %{apa4s-tama}.)

apAs (1. %{as}) , `" to be absent from , not to participate in "' see %{apa-pare7}.

apAs (2. %{as}) , to fling away , throw away or off , discard , to scare , drive away ; to leave behind ; to take no notice of , disregard. 6

Apas n. (connected with 1. %{ap}) , a religious ceremony RV.

Apas n. (fr. 2. %{ap}) , water ChUp.

stamba m. (prob. phonetic variation of %{stambha}) a clump or tuft of grass , any clump or bunch or cluster AV. &c. &c. ; a sheaf of corn L. a bush , thicket L. [1258,1] ; a shrub or plant having no decided stem (such as the Jhin2t2i1 or Barleria) L. ; the post to which an elephant is tied (wrongly inferred from %{stambe-rama} q.v.) L. ; a mountain L. ; N. of various men Hariv. Pur. ; n. (in these senses prob. w.r. for %{stambha} , m.) a post , pillar in general W. ; stupidity , insensibility W.

Footnotes

[1] Sanskrit Dictionary: kshipra mf n. (compar, superl.) springing, elastic; quick, speedy , swift; the part of the hand between the thumb and forefinger and the corresponding part of the foot Susruta.

[2] Sanskrit Dictionary: tal-hridaya is a compound name comprising of tala (m. n.) the palm (of the hand see kara-tala). hridaya n. (f). the heart (or region of the heart as the seat of feelings and sensations; soul, the heart or centre or core or essence or best or dearest or most secret part of anything).

[3] Sanskrit Dictionary: kuurcha m. a bunch of anything, name of certain parts of the human body (as the hands, feet, neck) Susruta. [300,2]; the tip of the thumb and middle finger brought in contact so as to pinch. Thus, a “pinch” (of something).

[4] After looking at the Sanskrit meaning, I believe that Kuur-cha, Little Bundle, is located in the center of the thenar eminence, since the muscle fibers represent a bundle or mound at that spot. As for the sequence, it makes sense to work the thenar eminence after working Tal-hridaya.

[5] Sanskrit Dictionary: maNi m. a jewel, gem, pearl, any ornament or amulet; the wrist (maNibandha). bandha m. binding, tying, joining. For the reader’s convenience, I have anglicized the retroflex “N” as “n” in the transliteration of the Sanskrit name of the marma. Also note that in Indian palmistry, “manibandha rekha” refers to the three lines that look like bracelets going across the anterior wrist joint. I have chosen to translate its name as “jewel bracelet.”

[6] Kuurcha-shira means “Head of the Bundle,” or “Bundle’s Head.” In Sanskrit, when something is called the “head” – such as in “Atharva-shirsha” it means the highest portion, or the most powerful portion. Therefore, I suspect that Kuurcha-shira is actually located at the base of the thenar eminence, where the entire thumb meets the wrist joint. However, this is where Mani-bandha is located in the manual. So that is a little confusing. I think a compromise would be to refer to mani-bandha as radiating across the wrist, Kuurcha as being at the center of the thenar, and Kuurcha-shira as being on the little finger side of the wrist – because when you touch that point, you can actually feel the energy radiate down into the thenar.

[7] Sanskrit Dictionary: indravasti m. the calf (of the leg) Susruta. Dr. Frawley translates this as “Indra’s Arrow,” and the dictionary provides: iSvastra n. "arrow-thrower", a bow. But I prefer “Indra’s Bow.” The story of Indra’s bow is as follows: “Indra, king of the Gods, as soon as born took up his bow, asking his mother who were his enemies (Rig Veda 8.45.4). The bow was to protect Indra from the moment of his birth.” That quote is from The Presence of Siva, Stella Kramrisch. Page 91.

[8] Sanskrit Dictionary: kUrpara m. the elbow; Susruta. I decided not to just call this “elbow,” because the literal translation lacks much for the therapeutic imagination. Instead I translate this as Flowing Bend.

[9] Sanskrit Dictionary: urvI f. "the wide one."

[10] Sanskrit Dictionary: naabhi f. The navel, central point, home, the nave of a wheel, origin.

[11] The name “kraknik” is not listed. Dr. Lad and Dr. Durve call the point at this location, “manyamani.” I presume the name that I learned from Dr. Miller comes from her guru’s oral tradition.

[12] Sanskrit Dictionary: kRka m. the throat , larynx. krikaaTa n. the joint of the neck. krikaaTaka n. the neck; krikaaTikaa f. the joint of the neck; Susruta. I prefer to translate “the joint of the neck” to “Occipital Junction” based on the anatomical location of the marma. For convenience to the reader, I have anglicized the retroflex “T” into “t” in the Sanskrit transliteration of the marma name, and hyphenated it to make it easier to pronounce. Therefore: kri-kaa-tikaa. Readers should make sure to pronounce the name with both long “aa” sounds as that gives the name accuracy and elegance.

[13] Sanskrit Dictionary: manyaa f. du. and pl. the back or the nape of the neck (musculus cucullaris or trapezius) Susruta. I translated manyaa as Neck Space because, while the dictionary states this noun means the back of the neck, both Dr. Miller and Dr. Frawley locate the marma on the side of the neck. I suspect this marma is fairly large, and of considerable importance due to its effects. Sushruta, in his chapter on marma, mentions the vessels in the neck as manyaa. An interesting point about translation is that manyaa (with a long terminating “aa”) means “nape of the neck,” while maanya (with a long “aa” after the initial consonant) means “honor.” Maanya, could refer to high-thinking, and respectability (high-browed, high-necked, or noble). Also the word “mane” (mane of a horse) is derived from the word manyaa, referring to the long hairs at the back of the horse’s neck. But also the word for mind is manas, and because manyaa affects fluid exchange in the cranium, including rakta dhatu and rasa dhatu, it must also improve brain function and clarity.

[14] Sanskrit Dictionary: siraa f. any tubular vessel of the body, a nerve, vein, artery, tendon. Susrruta. maatrikaa f. a mother; a divine mother; N. of 8 veins on both sides of the neck (prob. so called after the 8 divine mothers, the ashtamatrika. Note also there are 8 forms of Lakshmi.) Susruta.

[15] I have added to Dr. Miller’s sequence Akshaka, from the book by Drs. Lad and Durve. Akshaka has excellent therapeutic qualities. The Sanskrit Dictionary states, akSaka m. n. the collar-bone Sus3r. The etymology of collar is L. collāre, f. collum neck. Because this marma opens the upward energy flow of the neck, I have decided to translate akSaka as Etheric Column.

[16] Niila mf n. of a dark colour, dark-blue or black; dyed with indigo. Nii-la is referred to by Sushruta as the blue veins of the neck. Dr. Frawley classifies nii-la as a sira, vessel marma, and locates it on the neck above the jugular veins. However, Dr. Light Miller has taught me the location below ak-sha-ka, and it makes sense to go from ak-sha-ka to nii-la energetically in this sequence.

[17] Sanskrit Dictionary: apastamba m. a vessel inside or on one side of the chest containing vital air. This marma name is a compound of “apas” and “stamba.” Therefore: apas mfn. active, skilful in any art; of the three goddesses of sacred speech; of the active or running waters. Rig Veda. stamba (or stambha) m. a post, pillar in general. Because of the Rig Vedic connotation of “apah” as the waters of heaven and waters of life (see Sri Suktam) and the relationship between the marma’s position near to the lymph nodes and both right and left lymphatic ducts, heart, lungs, throat, and vocal chords, I prefer to translate this marma name as “Heaven’s Waterfall,” evoking the pillar-like shape of the living waters flowing down from the heavenly worlds, or lokas, wherein the devas, or gods dwell. Note that Dr. Miller teaches that apastamba is located on the side of the chest, and Dr. Frawley locates it on the front of the chest; however, the dictionary states apastamba is on the side and front of the chest.

[18] Sanskrit Dictionary: hridaya n. the heart (or region of the heart as the seat of feelings and sensations; soul, mind; the heart or interior of the body; the heart or centre or core or essence or best or dearest or most secret part of anything; true or divine knowledge. Because this is a neuter noun, it can be pronounced hridayam, with terminal “m.”

[19] 2 Uurvii f. the middle of the thigh Susruta. Also, uru: n. wide space , space , room RV., to grant space or scope , give opportunity RV.). I translated the UrvI of the thigh differently than the UrvI of the upper extremity because I like both Wide Open and Middle Space, and think each variation adds to the therapeutic visualization and energy appropriately.

[20] Sanskrit Dictionary: ANi m. the part of the leg just above the knee Susruta; the corner of a house; a boundary. I have anglicized the retroflex “N” to “n” to make the Sanskrit name easier to read.

[21] Sanskrit Dictionary: jaanu n. the knee.

[22] Dr. Miller teaches that indravasti is located on the anterior leg, whereas all other references including Dr. Frawley provide the location on the calf. This makes sense due to the Sanskrit name of the marma, noted below. I have to discuss this point with Dr. Miller.

[23] Sanskrit Dictionary: gulpha m. the ankle. gulphajAha n. the root of the ankle. I decided to call this marma Root of the Ankle because just “ankle” is not evocative. The other thing is that the ankle is very sensual and sexual, yet must also be very strong.

[24] Sanskrit Dictionary: kshipra mf n. (compar, superl.) springing, elastic; quick, speedy , swift; the part of the hand between the thumb and forefinger and the corresponding part of the foot Susruta.

[25] Sanskrit Dictionary: kuurcha m. a bunch of anything, name of certain parts of the human body (as the hands, feet, neck) Susruta. [300,2]; the tip of the thumb and middle finger brought in contact so as to pinch. Thus, a “pinch” (of something).

[26] Sanskrit Dictionary: tal-hridaya is a compound name comprising of tala (m. n.) the palm (of the hand see kara-tala). hridaya n. (f). the heart (or region of the heart as the seat of feelings and sensations; soul, the heart or centre or core or essence or best or dearest or most secret part of anything. For the Tal-hridaya marma of the foot, I am translating the name loosely as “Foot Heart.”

[27] Kuurcha-shira means “Head of the Bundle,” or “Bundle’s Head.” In Sanskrit, when something is called the “head” – such as in “Atharva-shirsha” it means the highest portion, or the most powerful portion. Therefore, I suspect that Kuurcha-shira is actually located at the base of the thenar eminence, where the entire thumb meets the wrist joint. However, this is where Mani-bandha is located in the manual. So that is a little confusing. I think a compromise would be to refer to mani-bandha as radiating across the wrist, Kuurcha as being at the center of the thenar, and Kuurcha-shira as being on the little finger side of the wrist – because when you touch that point, you can actually feel the energy radiate down into the thenar.

[28] Sanskrit Dictionary: brihatii f. fr. a part of the body between the breast and backbone. Susruta. This marma is spelled Vrahti in Dr. Miller’s manual. Often, pronunciation of “B” and “V” are interchangeable in Sanskrit. While the name specifically means “torso,” I have used the more general usage of the adjective brihat to translate it. Therefore, “Vast Abundance,” and: brihat mf n. (in later language usually written “vRhat”) lofty, high, tall, great, large, wide, vast, abundant, compact, solid, strong. I have hyphenated the marma name for easier pronunciation.

[29] Sanskrit Dictionary: amsaphalaka n. shoulderblade; Susruta. I have anglicized the nasal “M” (anuswara) to bilabial “m” to make the Sanskrit name easier to read. This marma name has been translated as “shoulderblade” in the dictionary. However, the compounds amsa and phalaka which make up the name provide a lot of imagery in their own right for the purpose of an evocative translation. aMsa m. the shoulder, shoulder-blade; corner of a quadrangle; m. du. the two shoulders or angles of an altar. And, phalaka (ifc. f. {phalikA}) {phala}, fruit, result, gain; ifc. f. a board, lath, plank; any flat surface (often in comp. with parts of the body, applied to broad flat bones. The same with long “A” (phalakA f.) is used for the word halakA, which contains the workd hAla m. {hala}, a plough. This I find interesting, because of the relationship between phala and hala (“fruit” and “plough”). Also the idea of how use of the shoulder and arms provides gain. Thus: amsaphalaka, Fruitful Plough.

[30] Sanskrit Dictionary: amsa m. the shoulder, shoulder-blade; corner of a quadrangle; m. du. the two shoulders or angles of an altar. I have chosen to use the evocative meaning of “Sacred Altar” because of the way the shoulders form an altar to hold up the head (the Universal Mind, the Atman). The nasal anuswara “M” has been anglicized to “m” for easier reading of the Sanskrit.

[31] Sanskrit Dictionary: nitamba m. the buttocks or hinder parts (esp. of a woman; mostly du.; the ridge or side or swell of a mountain, the sloping bank or shore of a river. I have chosen to translate this as River’s Shore, because nitamba affects the kidney (and that is how we are using it therapeutically in this massage sequence), and because of the resemblance of the slope of the lower back and buttocks to the shore of a river.

[32] Sanskrit Dictionary: guda m. an intestine, entrail, rectum, anus. And: guvati vb. to void by stool. I prefer to translate this marma name into “Clearing the Way,” rather than by it’s anatomical location.

[33] Sanskrit Dictionary: utkSepa m. raising, lifting up Megh. Susruta; expanding (the wings) Susruta. utsSepau m. du. the region above the temples. Susruta. I have transliterated “kS” as “ksh,” and prefer to call this marma as “Open Wings,” instead of by its anatomical location.

[34] Sanskrit Dictionary: Shankha m. n. a shell, (esp.) the conch-shell; the temporal bone, temple (accord. to some also, the bone of the forehead or, frontal bone). I have transliterated zaGkha by using “Sh” for soft sibilant “z” and “n” for the guttural nasal “G” in order to make the name easier to read. Rather than translating it by anatomical location or as “Conch Shell,” I prefer to title this marma, “Divine Call,” because of the use of the conch shell at the start of puja to purify the elements.

[35] Sanskrit Dictionary: siimanta m. parting of the hair.

[36] Sanskrit Dictionary: adhipati m. (in med.) a particular part of the head (where a wound proves instantly fatal). adhi ind., as a prefix to verbs and nouns, expresses above, over and above. pati m. husband, lord, master, ruler, sovereign.

[37] Sanskrit Dictionary: apaanga m. the outer corner of the eye; N. of Kama (the god of love). I have transliterated the guttural nasal “G” as “n” to make the Sanskrit name easier to read. Also the long “A” as “aa.” I translate the word by referring to the marma as “Eyes of Love,” referring to the eyes as the throne of Kamadeva (Cupid), the god of love.

[38] Sanskrit Dictionary: sthapanii f. the space between the eye-brows, Susruta. Also sthaapana mfn. fixing the thoughts. The Sanskrit root also means to “fix in place,” or “support.” Spiritually, this refers to fixing the mind in meditation, or Inner Vision.

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Ayurvedic Massage A Sequence for Two Therapists Click to download formatted PDF version: Abhyanga with Marma Massage Version 1.0, January, 2009. Adapted from the teachings of Dr. Light Miller by Jesse Arana, Certified Ayurvedic Practitioner, Los Angeles. Table of Contents 1. Introduction 2. Opening the Massage Sequence 3. Supine: Hands, Arms, and Shoulders 4. Supine: Head, Neck, Collarbone, Stomach and Ribs 5. Supine: Feet, Ankles, Shins, Calves, Knees, and Inguinal Area 6. Right Side: Shoulder, Ribs, Hips and Buttocks 7. Prone: The Back, Sacrum, and Buttocks 8. Prone: The Legs, Knees, and Calves 9. Prone: The Head and Feet 10. Left Side: Shoulder, Ribs, Hips and Buttocks 11. Supine: Head and Feet 12. Closing the Massage Sequence Appendix 1: Advice on Technique Appendix 2: Recommended Reading for Students of Marma Appendix 3: Sanskrit Definitions Footnotes 1. Introduction This massage sequence is adapted from the sequence taught by Dr. Light Miller. I have had the honor and privilege of studying Ayurvedic abhyanga and marma massage with her and Dr. Byran Miller. Throughout my training I recognized the need to fully internalize the sequence and the substance of these practices, and decided to compile a set of instructions that clarified for me what the essential teachings are, putting them into my own words. The sequence is designed for two trained practitioners, which I call P1 and P2. The massage itself is a combination of Ayurvedic massage techniques, such as abhyanga, champi, and marma chikitsa. However, there are many individual strokes which are common to lymphatic, Swedish, deep tissue, acupressure, tui na, and reflexology. The therapeutic focus of this massage is the marma points, which provide energetic and physical gateways into the dhatus and strotras, pranas and nadis, and the chakras. To perform marma, one must be competent in locating “points” on the body, and from a deep therapeutic view, must be able to palpate or visualize the dhatus. It is also extremely helpful to have above average Sanskrit pronunciation, as the names of some of the marma points are powerful vibrations which, I find, focus their therapeutic energy. I have attempted to corroborate each marma location by comparing the locations that I have received through oral instruction and demonstration, coming from the oral tradition via Dr. Light Miller’s teacher, Panchubhai Chotai, with the locations described in Dr. David Frawley’s book, Dr. Vasant Lad’s book, and the P.V. Sharma edition of the Sushruta Samhita. Please keep in mind that the knowledge of Ayurveda and marma has been passed down from through the oral (village) traditions, through families and lineages, by the Samhita and textual traditions, and by modern textbooks. The Samhita states the knowledge of marma comes from the Divine Incarnation, Dhanvantari – and the Lord can speak through any form. The marma points are noted herein by their traditional Sanskrit name, and have been transliterated into Roman script using a simple scheme that uses hypenation to break up the names to make them easier for students to pronounce. All Sanskrit definitions have been derived from the Cologne Digital Sanskrit Lexicon. Each marma also has footnotes which describe additional information about the translation or the location. The dictionary references are transliterated using the ITRANS schema. In addition to the Sanskrit, I have provided an English translation which I developed through my studies of Sanskrit, and my love for poetry. I have found that during a massage session, not only quietly repeating the Sanskrit name of a Marma point, but the English translation as well, helps me focus my therapeutic intent, as the English translations are also intended to inspire the mind and move energy. Working with marmas and dhatus requires a subtle consciousness. The Appendix on techniques includes pointers on how to treat the marmas, dhatus, types of strokes used in the massage, and other important aspects. An additional Appendix is provided in case anyone interested in Sanskrit wants to see the raw dictionary material without having to redo all the dictionary searches. The goal of this writing is to make the massage sequence easy to learn so that students of Ayurveda can confidently provide the magical benefits of this great art to the Western world. 2. Opening the Massage Sequence Client Position: Supine Draping: Client beneath top sheet P1 and P2: Move to the sides of the client so P1 and P2 are opposite each other with client lying supine between. You may place your hands on the client, and include any appropriate prayers and intentions, melding together for the highest healing good. 3. Supine: Hands, Arms, and Shoulders. In this section of the sequence, both therapists positioned contralaterally by the client’s sides, work simultaneously and synchronously on each part of the body. P1: Locate the warm massage oil and have it ready to apply. P1 and P2: Gently remove the draping from both arms and tuck it appropriately. Position yourselves at the client’s hands, looking toward the upper torso. P1: Pour oil into P2’s cupped hands, then into your own. Quickly return the oil to the warmer. P1 and P2: Simultaneously begin to smooth the oil on the client’s hands and their arms up to the shoulder. If the skin immediately absorbs the oil, quickly re-supply. Start by using the long sweeping abhyanga stroke from the hands to the shoulders, and returning. Make between three and ten solid long sweeps up and back, melding with the shape of their arms and tuning into your client. P1 and P2: Position yourselves at the client’s hands and using both thumbs, sweep the metacarpals. From the dorsal side of the client’s hand, pinch Kshipra, Quick Release [1] between your thumb and first finger. Release and tonify Kshipra marma. Kshipra is in located the webbing between the client’s thumb and first finger and is accessed from both sides. Kshipra is in snyayu dhatu. Kshipra acts on the respiratory system. It is a “take a big breath and let it out slowly”type of marma. So it will energize the body by bringing in Prana, and release toxic energy through Apana. Kshipra can then open the heart. By releasing the chest through Kshipra, the respiratory, circulatory, lymphatic, and immune systems are affected, including the Thymus gland. Kshipra frees passion, grounds the will, and promotes confident self-expression. P1 and P2: Milk the digits starting from the thumb. Firmly work area in the webbing to release each joint first, paying close attention to the contour of the bone and the tiny muscles and ligaments at the attachments, as you work down each digit to the tip. Squeeze the fingertip and then milk the next digit, until you reach the little finger. End by sweeping the metacarpals. P1 and P2: Turn the client’s hand to work the palmar surface. Return to pinch Kshi-pra, Quick Release between your thumb and first finger of one hand. Simultaneously locate and work the satellite of Kshi-pra, located at the base of the client’s little finger, working it between the thumb and first finger of your other hand. Perform deep circular motions on the base of the thumb and the base of the little finger. You may also traction and rock the arm gently as you work together. P1 and P2: Place both your thumbs in the center of the client’s palm at Tal-hri-daya, Heart in Hand [2] , and use deep circular motions to release the marma’s central point spiraling out to work the palmar surface of the knuckles. Complete working this marma by pinching the tips of each finger. Tal-hri-daya is located in the center of the palm and radiates out to the tips of the fingers. It is located in mamsa dhatu, and affects rasa dhatu, promoting lubrication and energy flow. Tal-hri-daya acts on the lungs and respiratory system, the heart, and controls the hands. Tal-hri-daya affects balance and wellbeing. P1 and P2: Hold the client’s hand palm-up and work *Kuur-cha, Little Bundle* [3] , located in the center of the thenar eminence (mount of venus) of the thumb. [4] Kuur-cha is in snayu dhatu, and controls alochaka pitta. The thumb is the finger of the fire element, agni tattva. Kuur-cha is a deep marma, so you may have to use extra pressure. Then place your thumbs on Mani-ban-dha, Jewel Bracelet [5] and *Kuur-cha-shira, Bundle’s Head* [6] . Mani-ban-dha is located on the thumb side of the wrist directly on the on the medial tip of the head of the radius. Kuur-cha-shira is located at the wrist joint, on the little finger side, directly on the lateral plane of the ulna, just past its head, in a tender flat depression. Work Mani-ban-dha and Kuur-cha-shira simultaneously with a circular motion. Mani-ban-dha is a sandhi, or joint marma, which accesses the skeletal system. It’s energy travels right up the arm. It relieves stiffness, and increases flexibility. The three lines circling the wrist are called “tri-rekha.” These important folds (or divisions) circulate energy, and their spiritual significance is extensive. The tri-rekha are related to Devi and the Triloka, among many other subjects. That is why it is considered a “jewel”. Kuur-cha-shira is located in snayu dhatu, and controls various types of agni, including the digestive fire. This point also enhances circulation. Finish working the wrist using a back and forth motion over the tendons at the center of the joint. Feel for an energy release as the joint opens. It can help to shake the joint to loosen it up. P1 and P2: Take the client’s hand and gently shake out the arm, moving it out and to the side, loosening any tension that may have accumulated. Return both arms to the client’s side. P1 and P2: Hold the client’s hand with your hand closest to the client’s body. Then with your outside hand, make long, deep strokes from the wrist to elbow on the anterior forearm. Using your thumb, make tight circular strokes down the center of the supinated forearm, from the wrist to the elbow. Return to the wrist with a one stroke, clasping the whole forearm. Then work Indra-vasti, Indra’s Bow [7] , located at the junction of brachioradialis and flexor carpi radialis. Indra-vasti is a mamsa, or muscle marma. If the client has thick musculature this marma may require pressure. It affects the respiratory system, and circulatory system. The radial artery and the median antebrachial vein (juncture of cephalic and basilic veins) traverse the region of this marma. P1 and P2: With the thumb of your outside hand, make deep circular motions on *Kuur-para, Flowing Bend* [8] , comprising two points located bilaterally at the joint of the elbow. Using a pincer grip, grasp both sides of the elbow joint between your thumb and first or second finger. Seek with your fingertips to find the outer points of Kuur-para. The marma is located in the joint, so you have to relax the ligaments around it using your fingers and sending energy in. When you feel the marma, rotate the client’s forearms up and inward, circling round and round in a gentle, flowing manner. Check to make sure the entire arm and shoulder is relaxed. Then circle the forearm the opposite direction. If it helps access the marmas better, when you reverse, you can switch your grip and use your other hand. Kuur-para is a sandhi, or joint marma. Kuur-para affects digestion. P1 and P2: Holding the wrists, shake the arms lightly to loosen the joints. Then straighten the client’s arms and place them gently on the table. Perform a few long stroke up the entire arm, circling around the shoulder, and returning. After a few sweeps, move to the upper arm and work Ur-vii, Wide Open [9] , located at three points: in the bicep over the brachial artery and basilic vein, at the insertion of the deltoid, and contralaterally over brachialis and the cephalic vein. Ur-vii is a sira, or vessel marma. Ur-vii affects both the circulatory system and lymphatic system. It’s energy is opening, broad, and expansive – yet deep, because of the connection to the sira. Finish the arm sequence by sweeping the shoulder from deltoid to trapezius, and returning. Then stand at the client’s shoulder, facing their feet. Place your inside hand on firmly on their shoulder and anchor it to the massage table. Flatten your outside hand on the trapezius and deltoid and use the long stroke down the entire arm, ending off the fingers. Do this several times to close this part of the sequence. 4. Supine: Head, Neck, Collarbone, Stomach and Ribs. In this section of the sequence one therapist takes the head, neck and collarbone. The other therapist takes the stomach and ribs. Because P1 (the therapist at the head) has to do both sides of the neck, they have more work to do. So it’s important for the two therapists to remain in synch in order to finish this section of the sequence at the same time. P1: Locate the warm massage oil and have it ready to apply. P2: Remove draping from the client’s torso and abdomen, down to the top of the pubic bone. Cup your hands above the client’s navel. P1: Pour oil into P2’s cupped hands. P2: Let the warm oil flow into the client’s navel, and slowly spread it in clockwise spirals out from the center. The navel center, and up to about three finger widths in a circle around it, is *Naa-bhi, Origin* [10] . Start consciously here, for *Naa-bhi, Origin* is a very sacred space. Massage with your fingers, using a spiral motion out from the center several times, then circle the outer edge of the marma. Naa-bhi is like the hub of a wheel. One of the alternate translations is “Wheel.” It is a shira, or vessel marma. Sushruta says Naa-bhi is the “Origin of blood vessels”. The umbilicus is the first vessel, the origin of all vasculature. The abdominal aorta lies below Naa-bhi, deep in the abdomen, at the midline. Therefore Naa-bhi affects circulation and digestion. An excellent mantra for Naa-bhi is “Aum.” Naa-bhi has satellite points that are utilized later in the massage sequence, and which are indicated below. In widening circles, gently massage the abdomen. Over the ascending colon, bring both hands together and using supported fingers, massage the colon with small circular motions. Traverse the ascending, transverse, and descending sections. Use firm pressure. P1: Supply your hands with oil as you move to a standing position behind the client’s head. Place your hands on the client’s shoulders with gentle alternating pressure and rock them. Make sweeping effleurage strokes from the client’s shoulders, up behind their neck. Then, gently take the client’s head in your hands and lift it slightly. Sidebend and rotate the neck to release tension. Then use a skiing motion, gently gliding your fingers across the cervical spine, using both hands, or one hand, with the other holding the head. Release the neck by working your fingers into *Krak-nik* [11] , located bilaterally from the spinous processes of C7. Krak-nik marma is related to mental fatigue, allergies, and the thyroid gland. The nerves exiting C7 go to the heart and the dermatome runs down the back of the arms to the hand and ends at the index and middle finger. Place your fingers bilaterally below the External Occipital Protuberance (EOP) and massage Kri-kaa-ti-kaa, Occipital Junction [12] . If you are familiar with CranioSacral techniques, this is a good place to add CST. Kri-kaa-ti-kaa is a sandhi, or joint marma related to posture, circulation in the head, and the subconscious mind. While supporting the head with your left hand, sidebend the neck to the left so the muscles of the right side are accessible. Then gently work Man-yaa, Neck Space [13] , located down from the angle of the jawbone, right in front of sternocleidomastoidus, over the external and internal jugular veins. Man-yaa is a sira, vessel marma. Pressure on it can inhibit venous drainage from the cranium, resulting in a backflow. When Man-yaa is released, and the backflow drains, stale blood, toxins, lymph, CSF and pranic energy are driven down by the apana into the thorax. Man-yaa therefore affects cerebral circulation, and can improve the exchange of fluids in the cranium. In addition to rakta dhatu, rasa dhatu is involved, which includes plasma, CSF, and lubrication to the throat and tongue which affects sense of taste, so crucial in Ayurveda and yoga. Man-yaa also affects the voice. P2: After massaging the colon, make a fist with one hand and cover it with your other hand. Gently place it on the navel. Start lightly so that you can get a feel the dimensions of the client’s small intestine beneath your knuckles. Once you get used to the space, and feel how much pressure you need to apply to churn it, massage the small intestine with a round rocking motion that comes from your shoulders. You can do a few rounds to help size the area up. After you have thoroughly massaged the small intestine with cleansing and balancing energy, use clockwise strokes to smooth out and integrate the entire abdomen. Then use the two handed Swedish “wave” stroke laterally continuously across the client’s entire belly. Take your time. P1: Gently work *Siraa-maatri-kaa, Mother Channel [14] , located on the lower front of the neck, bilaterally from the trachea, one finger-width’s distance. Siraa-maatri-kaa is a siro, or vessel marma. It is a collection of 8 marma points nested among the 8 vessels of the neck. Sushruta states Siraa-maatri-kaa affects the throat, tongue, specifically speech and the sense of taste Holding the head with your left hand, use the fingers of your right hand to smooth the muscles of the neck from the ear, down to the collar bone, ending at the jugular notch. Right beside the jugular notch, on the superior aspect of the collarbone, directly between the medial head and the sternal head of the sternocliedomastoidus, is ak-sha-ka, Etheric Column [15] . Apply very gentle, sensitive pressure with awareness using your index fingertip. This is a very subtle space. Watch the client for signs of release. Beneath your finger the udana will begin to flow up the inside of the neck. P2:* Place your fingers at Naa-bhi, and then put the thumb and index finger of one hand approximately two finger-widths below the navel, and spread them about four finger-widths. These are the lower satellite points of Naa-bhi. Place the thumb and index finger of the other hand approximately two finger-widths above the navel, and spread them about four finger-widths. These are the upper satellite points of Naa-bhi. Apply gentle pressure to each of the four satellite points of Naa-bhi marma. When you feel the energy flowing here, release the satellite points by maintaining constant pressure, and drawing your hands apart while bringing both thumbs and index fingers together. The motion is kind of like closing a ziplock bag. When the fingers join, they should be about four or five finger-widths above and below Naa-bhi, at the midline over the linea alba. Apply pressure with the intention of enlarging and opening the energy field. Do this movement three times. P2: Using pressure and circular motions, work Nii-la, Heavenly Blue [16] , below Ak-sha-ka. Use light pressure and circular motions. Nii-la affects the fifth chakra, clairaudience, and thyroid function. After massaging Nii-la, use broad flat strokes on the collarbone from neck to shoulder. Do this slowly three times, and then sweep from the shoulders to the neck, lifting the head slightly in a classic Swedish effleurage move. After several times, reverse your hold on the client’s head, to perform the marma sequence on the other side of the neck: Man-yaa, Neck Space Siraa-maatri-kaa, Mother Channel ak-sha-ka, Etheric Column Nii-la, Heavenly Blue P2: Work Basti, Bladder, located three finger widths directly below Naa-bhi, located in a small indentation on the linea alba, using circular motions and gentle pressure. Then work the satellite of Basti located in the groove on the superior angle of the pubic symphisys. Basti is in snayu dhatu, and releases the pelvic and urogenital diaphragms. Using circular motions, massage the small indentation or pit at the midline on the linea alba, just below the xiphoid process. This point is a delicate area, so take care to sense the energy first, and then work gently. Perform a liver pump and a gallbladder pump. Then, use clockwise strokes to integrate the abdomen. On your last circle around, massage the ribs by moving one hand over the other in a cross-wise stroke. To massage the intercostals, place your fingers in the intercostal spaces and rake from both sides toward the midline. Massage the tips of the rips above the abdomen. Move beneath the ribs to open the ribcage. Gently rake the liver and gallbladder toward the midline, with one hand, and rake the spleen and stomach toward the midline using your other hand. P1: Lay the client’s head down, and repeat the effleurage sweeps from shoulder to the back of the neck, gently lifting the client’s head to get to the back of the neck. Slide your first two fingers between the sides of the client’s chest and their upper arms, at the level of the nipples. Let your thumb rest on the upper pectoral muscle, in the depression where the chest and shoulder meet. Contact the ribs with your first two fingers paying close attention to the energetic quality of this area. Massage *Apa-stamba, Heaven’s Waterfall [17] , using circular motions with moderate to heavy pressure. Use both thumbs in a pressure-point technique to release tension in the shoulders and torso. Apa-stamba is a siro, or vessel marma. This marma is a container for prana, life energy. It affects rasa dhatu, lymph and plasma, and digestive juices. By releasing trapped energy in the torso, it affects the ability to take in prana through expanding the breath. And by inducing the flow of lymph and other juices, it can stimulate the flow of apana as well. This is a wide marma, but there can be muscular armor and desensitized or oversensitized nerves in this area. So take your time and really connect with the dhatu. Massage Hri-da-yam, Heart and Soul [18] , located in an indentation in the center of the breastbone (sternum), half way from the sternal notch to the tip (xiphoid process). Then palpate the length of the sternum for sensitive spots and release any you find. Be careful at the bottom, near the delicate xiphoid process. Hri-da-yam is a sira, or vessel marma. It affects the immune system through the thymus gland; rasa dhatu (plasma) and rakta dhatu (blood). It also can be used to release the heart. P2:* Turn and face P1 to begin the tandem massage. P1: Begin tandem massage on the torso by laying your hands flat, side by side, on the client’s sternum. Use a swimming effleurage stroke down the center of their chest and abdomen, and return along the same path. P2 will be coming up the torso, so make sure to synchronize and cross in the middle of the client’s body. P2: Begin the tandem massage by placing your hands on the sides of the client’s abdomen, and massaging up toward the chest, and return by the same path. P1 will be coming down the torso, so make sure to synchronize and cross in the middle of the client’s body. P1 and P2: Continue in tandem, alternating which therapist takes the center, and which takes the sides. Keep reversing roles in a swimming style, back and forth about ten times. The tandem strokes take practice, so don’t get frustrated if you are not able to synch up right away. When you have balanced the prana, apana, samana, udana, and vyana, and balanced the doshas, let your hands rest on the client at the chest and lower abdomen. Then, facing each other, close the sequence prayerfully. Replace the torso draping and tuck the client in. 5. Supine: Feet, Ankles, Shins, Calves, Knees, and Inguinal Area. In this section of the sequence, both therapists work simultaneously on the same parts of the client’s body bilaterally. P1: Locate the warm massage oil and have it ready to apply. P1 and P2: Fold the draping on the client’s legs inward so the legs are accessible including the side of each hip. P1: Pour oil into P2’s cupped hands and then onto the client’s leg on P2’s side. Pour oil onto the leg on your side, and into your cupped hand. Replace oil in the warmer. P2: Start gently spreading the oil up the entire leg. P1: Follow P2 quickly, and synch up as you both spread the oil. P1 and P2: Perform synchronous long Abhyanga strokes from the dorsums of the feet across the top of the leg, around the hip and back down, paying close attention to form fitting the feet at the end of each stroke, with each therapist’s fingers coming off the toes and breaking contact with the client at the same time. Be in synch as you both make initial contact with the client’s feet to start the next stroke. Do this at least ten times. P1 and P2: Move to the sides of the client’s thighs, facing each other. Using synchronized alternating hands, scoop the anterior muscles of the thigh back and forth about 15-20 times. Then use alternating wringing strokes at the center of the anterior thigh. Move down to the knees and use synchronized alternating wringing strokes on the kneecaps. P1 and P2: Each therapist places their hand closest to the feet beneath the client’s knee, lifts the leg and bends it at the knee. If you need to secure this position, put your knee on the table, supporting the leg at the foot. Face the client and grasp their knee with both hands, with your thumbs on the front of the knee, and your fingers meeting on the other side. Then slowly strip down the center of the thigh several times with your fingers, moving from the knee to the hip. Change hand positions by leaning, holding the knee with your outside hand, and with a flat broad stroke, massage down the inside of the client’s thigh. With deep circular motions, massage Uur-vii, Middle Space [19] , located in the center of the anterior thigh at the junction of the rectus femoris, vastus medialis, and sartorious. Uur-vii as a siro, vessel marma. Dr. Light Miller taught me it is related to apana, and letting go. Uur-vii is above the femoral artery and the saphenous nerve, which is the largest cutaneous branch of the femoral nerve. P1 and P2: Strip down from Uur-vii to the inguinal and femoral lymph nodes. Go as far as you can toward the crease of the thigh. While this can sometimes be a sensitive area for the client, it is crucial to detox the lymph nodes by pushing lymph. In contrast to the light-touch lymphatic massage style, Dr. Miller taught me to use vigorous deep circular strokes with the side of the thumb. However, I have found that using the lighter lymphatic stroke afterward is excellent, and one can palpate and access the awareness of rasa dhatu very nicely. Stroke the inner thigh again from knee to inguinal region to integrate the energy. Using both hands, stroke both sides of the thigh. Return to the knee and stabilize it. Use deep circular motions on Aa-ni, Boundary [20] , located five finger widths above the knee, directly above the kneecap, and continuing down onto the boundary of the kneecap for about 1 finger width. This area can be heavily armored desensitized due to constant use. So work from the main point down. When you get used to doing the knee, you will integrate working Aa-ni and the Ja-nu points. Aa-ni is a snayu marma. But I feel that, when you work it’s satellite point on the superior aspect of the kneecap, it should be able to function like a sandhi marma. P1 and P2: Using both hands, place the tips of your index fingers on the kneecap. Find the dips at the top of the kneecap on both sides. Place your your thumbs into the two indentations at the bottom sides of the kneecap. Your fingers should be in approximately a square. These points are Jaa-nu, Knee [21] . Deeply massage all four points of Jaa-nu. Jaa-nu is a sandhi, or joint marma, affecting joint movement, balance, and circulation. P1 and P2: Using both hands, massage the sides of the knee with your fingers. Then strip the front lower leg down to the ankle several times. P1 and P2: With your outside hand stabilize the knee. Using your inside hand massage the calf by pulling it medially and toward you. Do this 10 times, then reverse your hands, and stroke laterally and toward you. P1 and P2: With both hands, grasp the lower leg, placing your outside thumb on the outside of the shin approximately five finger widths below the knee, on the outside border of the tibia; and your inside thumb approximately five finger widths above the ankle on the inside border of the tibia. [22] These two points are Indra-vasti, Indra’s Bow. Indra-vasti (lateral)) affects the kidney/adrenal complex, and (medial) affects the reproductive glands and relieves menstrual cramps. P1 and P2: Sweep down the shinbone from knee to ankle three times. Rock the knee from side to side to release the tension in the leg. Then take the leg up and gently place flat on the table. Move to the bottom of the massage table and grasp the clients’ feet. Using the fingers of both your hands to work all around the ankles. This is Gulpha, Root of the Ankle [23] . Gulpha is a sandhi, joint marma. It affects the stability and balance of the pelvis and the knee. It affects the reproductive system. P1 and P2: Massage the entire ankle area and then rake the tendons down to the toes. Massage Kshipra, Quick Release [24] , in the webbing of the big toe from above and below. Then place a drop of oil in the webbing between each toe and massage. Kshipra is a snayu, connective tissue marma. Work on the feet together. Stimulate the ends of the toes with thumb and finger pressure. Do friction movements with both hands rapidly churning the foot as if you were churning butter. Stretch the feet toward you. Rotate each toe 10 times. P1 and P2: Stabilize the foot so you can work the plantar surface. Use deep circular strokes on *Kuur-cha, Little Bundle (27), [25] located in the center of the ball of the foot. Massage the padding at the base of the toes. Kuur-cha is a snayu, connective tissue* marma. It is located at the acupuncture point, Kidney 1. P1 and P2: With your thumb, massage Tal-hridaya, Foot Heart [26] , located in the center of the foot. Tal-hridaya is a mamsa, muscle marma. It affects the heart, respiratory system, and relieves stiffness in the foot. P1 and P2: Stabilize the foot and cup the heel. Press deeply into the center of the heel to massage *Kuur-cha-shira, Bundle’s Head* [27] . Kuurcha-shira is a snayu, or connective tissue marma. It affects spinal alignment and grounding. P1 and P2: Close this section of the sequence by doing the long Abhyanga stroke from foot to shoulder and back five times. Then grasp the client’s feet and pull back with your weight, elongating the client’s body. Then replace the draping and tuck the client in. 6. Right Side: Shoulder, Ribs, Hips and Buttocks. In this section of the sequence the client turns on one side, and one therapist massages the shoulder and ribs from the side, while the other massages the hips and buttocks from the side. P1: Locate the warm massage oil and have it ready to apply. Locate the spare draping towel to use to cover the breast area for women. Then ask the client to roll over onto their left side. P1 and P2: Hold the draping in place as the client turns. Work together to remove the draping from the client’s right shoulder, down to the end of their buttocks. Be prepared to place the spare draping towel to cover the breasts. Tuck in the draping around the lower hip to secure it. P1: Pour oil into P2’s cupped hands and then into your own hand. P2: Spread the oil on the client’s raised hip and buttock. P1: Spread the oil on the client’s raised shoulder and exposed ribs. P1 and P2: Working in synchrony, each therapist should start massaging their respective areas on the client’s body using both hands in a swimming motion similar to the way the upper thigh was massaged. The buttock and the shoulder, both being round, can be used as the central pivot for windshield washer type strokes that conform to the body, and spread the tissues outward. Care should be taken to work the entire right side of the torso. To close this part of the sequence, stop gently together and re-cover the client with the draping, making sure to remove the breast draping if any. Prepare the face cradle and secure the draping to allow the client to roll over prone. P1: Tell the client to turn and lie face down on the table, scooting-up to put their face in the face cradle. 7. Prone: The Back, Sacrum, and Buttocks. In this section of the sequence the client is prone, and both therapists work simultaneously on the upper body. P1: Locate the warm massage oil and have it ready to apply. P1 and P2: Take positions at each side of the client’s torso. Remove the draping down to just below the bottom of the sacrum. Tuck in the draping to secure it. P1: Pour oil into P2’s cupped hands and then into your own hand. Drizzle warm oil on the client’s spine. P1 and P2: Spread the oil up on the client’s back. Then starting at the top of the sacrum, sink your thumbs into the depression on each side of the spine. Proceed up the spine, vertebrae by vertebrae, using your thumbs in a tight semi-circular motion, to push the tissues “up-and-out, up-and-out, up-and-out,” away from the spine. Work your way to the top of the spine. Massage the tissue above the scapulae. Then perform the same “up-and-out” motion back down the spine to the sacrum, and then back up to the scapulae. Using a soft claw-like grip, put both of your hands into the groove along the sides of the spine, starting at the base of the neck. Gently dig in and pull the vertical band of muscle and tissue toward you. Repeat this stroke all the way down the spine. P1 and P2: Move up to the client’s shoulders. Anchor the thumb of your cephalad hand in the armpit. Rotate your wrist so that your fingers fan the scapula. Do this 5-10 times, really feeling into the tissues along the borders of the scapula. P1 and P2: With circular motions, massage Bri-ha-tii, Vast Abundance [28] , located two finger widths above the inferior angle of the scapula. Bri-ha-tii is a siro, or vessel marma, due to its relation to the subscapular artery and vein and the lymph ducts in the armpit area. It affects the heart and lungs. Bri-ha-tii frees the energy of the arms. P1 and P2: With circular motions, massage Amsa-phala-ka, Fruitful Plough [29] , located two finger widths below the superior angle of the scapula. Amsa-phala-ka is an asthi, or bone marma. It affects the heart, thymus, and respiratory system, and accesses asthi dhatu, the skeletal system. P1 and P2: With tight, focused circular motions, massage Amsa, Sacred Altar [30] , first in the (supraspinator) notch in the top border of the scapula, then in the center-top of the trapezius on the shoulder. Amsa is a snayu, connective tissue marma. It is affects energy to the brain, relaxes the nervous system, and promotes self-esteem (holds your head up). P1 and P2: Place one hand at the sacrum and one hand on the scapula and very gently stretch the tissue of the entire back from sacrum to shoulder. Make sure not to put any pressure on the neck. Take your time to feel the release before moving on. P1 and P2: Draw your hands together and place them over the kidneys. Send healing energy to the kidneys and adrenals. Lightly explore to see if you can feel any points that need massaging and if you do, work them. Place your hands on each corner of the top of the sacrum and locate the depression one finger width inward toward the spine. This point is *Nitamba, Sloping* Shore [31] . Thoroughly massage Nitamba, then allow your fingers to rest on Nitamba. Nitamba is in asthi dhatu, and is a bone point, located on the sacrum (sacred bone). Nitamba affects rasa dhatu, the craniosacral system, the skeletal system, and the pelvic and urogenital diaphragms. P1: While you and P2 continue your pressure at Nitamba, place the tip of your second finger on the junction between the client’s fifth sacral segement and their cocxyx. Gently offer sacred energy into the sacrum. The large marma region comprising of the exterior and interior of the anus is Guda, Clearing the Way [32] . Guda is a mamsa, or muscle marma. It affects the alignment of the sacrum and spine. It affects the urogenital and pelvic diaphragms, and is related to the first chakra. P1: release your hands from the client’s body. P2: Perform a sacral pump by placing hand in a cup on the sacrum, with your fingers facing the client’s feet. Meld your hand with the sacrum. Then with very gentle pressure, rock the sacrum toward the feet and back. Do this five to ten times. Never force it. The sacral pump encourages the Cerebrospinal Fluid (CSF) in the spine to flow. This fluid is produced in the ventricles of the brain, and flows throughout the cranial meninges and the tissues of the vertebral column as a lubricant and anti-shock agent. The sacral pump energetically connects the brain with the sacrum and balances the entire nervous system. After the sacral pump is completed, slowly lift your palm from the client’s sacrum. P1 and P2: Move to the side of the client’s buttocks. Place your hands, thumbs together in the center of the buttock, and massage with moderate pressure in a “windshield wiper” or churning motion. Lean into the buttock to promote a release deep in the tissue. P1 and P2: Press both thumbs into the center of the side of the buttock and massage in a tight up and down motion, leaning into the tissue. Then use your thumbs to strip the buttocks, following the fibers, moving thumbs from the table, upward and over the buttock. This removes agni from the fibers of the gluteals. P1 and P2: Close this section of the sequence by massaging from the buttocks, over the sacrum, and up each side of the spine to the shoulder. Return with one hand following the same path, and the other hand branching out from the shoulder to travel down the arm to the hand. Then replace the draping on the client’s torso and arms. 8. Prone: The Legs, Knees, and Calves. In this section of the sequence the client is prone, and both therapists work simultaneously on the legs. P1: Locate the warm massage oil and have it ready to apply. P1 and P2: Take positions at each side of the client. Fold the draping on the client’s legs inward, tucking the center so the legs are accessible up to the buttocks. P1: Pour oil into P2’s cupped hands and then onto the client’s leg on P2’s side. Pour oil onto the leg on your side, and into your cupped hand. Replace oil in the warmer. P2: Start gently spreading the oil using a long effleurage stroke up the entire leg. P1: Follow P2 quickly, and synch up as you both spread the oil. P1 and P2: Perform synchronous long Abhyanga strokes from the ankles, up the leg, around the buttock and back down, paying close attention to form fitting the feet at the end of each stroke, with each therapist’s fingers coming off the toes, breaking contact with the client at the same moment. Be in synch as you both make initial contact with the client’s feet to start the next stroke. Do this ten to fifteen times. P1 and P2: Move to the sides of the client’s thighs, facing each other. Using alternating hands, scoop the back of the thigh fifteen to twenty times. P1 and P2: Now wring the same muscle group, using alternating hands. P1 and P2: Using medium pressure, strip the back of the leg from above the knee to the fold of the buttock. When you reach the sit-bone (ischial tuberosity), increase your pressure and massage the muscle attachments. Use pressure point technique. Work mid-way between the knee and buttock, massaging the point in the center of the posterior thigh, using deep circular motions. This is the reverse side of Aa-ni, Boundary. P1 and P2: Move down to the knees and scoop the knees with alternating hands. Even though in massage school they teach you not to put any pressure on the hollow at the back of the knee (the popliteal fossa), as long as you are tuned into the sensitivity of the client, and the energetics of the lymphatic system, and rasa dhatu, you can use moderate pressure to massage in circular motions the reverse side of the knee (Jaa-nu, Knee). Jaa-nu on the posterior knee affects rasa dhatu, and is related to Bladder 40, which is for “moving masses” and relieving pain. Jaa-nu is a very versatile therapeutic point. P1 and P2: Grasp the foot and bend the leg at the knee. If you need to secure yourself, put your inside knee on the table. Position your body so you can strip the back of the lower leg from ankle to knee using both hands in a hook-like position. Then strip the font of the leg from ankle to knee. P1 and P2: Lay the leg back down on the table. Massage the reverse side of Indra-vasti, Indra’s Bow, located in the center of the calf muscle, where the two heads of the calf join the tendon. This location of Indra-vasti affects agni and helps with athletic injuries. P1 and P2: Stabilize the ankle by placing it on your shoulder. Then, using both hands, wring the calves. Return the foot to the table, and perform long Abhyanga strokes on the entire leg, circling the hip and returning to come off the foot. P1 and P2: Re-drape the client’s legs, leaving their feet uncovered. 9. Prone: The Head and Feet. In this section of the sequence the client is prone, and one therapist works the head, while the other therapist works the feet. P1: Locate the warm oil to have at the ready. Position yourself at the client’s head. P2: Position yourself at the client’s feet. The feet will most likely not need any additional oil. Start massaging the client’s feet. At this point in the massage, your job is to do a good foot massage while P1 massages the client’s head. P1: Pour a little oil on the hairline at the back of the client’s neck and massage the scalp around the occiput with your fingertips, using a rubbing, tight circular stroke and also a “scratching” stroke that releases the roots of the hair. Massaging the occiput alleviates mental fatigue, increases exchange of fluids in the cranium, and affects allergies. P1: Massage all around the ears on the parietal bone. Pull the ears slightly. Massage the lobes and pinna of the ear. Massage Ut-kshe-pa, Open Wings [33] , located at the anterosuperior border of temporalis, on the coronal suture. Ut-kshe-pa is a snayu, or connective tissue marma which is very relaxing and pacifies vata. P1: Using large flat circular strokes, with your index, middle and ring fingers, massage Shan-kha, Divine Call [34] , located on surface of the temples. Shan-kha is an asthi, or bone marma. It affects the clarity of the senses of hearing and touch. P1: Massage *Siim-anta, Middle Way* [35] , located at bregma, the junction of the fronta and sagittal sutures. Siim-anta is a sandhi, or joint marma. Properly massaging it can affect the sutures of the cranium and the meninges, or connective tissue surrounding the brain. It can also enhance pituitary function. P1: Massage Adhi-pati, Overlord [36] , located at the vertex of the cranium, in the sagittal suture. Adhi-pati is a sandhi, or joint marma. It is also called the Brahma Randra, or the hole in which consciousness enters and leaves the skull. It is a very spiritual point, so be very clear when you massage it. Properly massaging it can affect the sutures of the cranium and the meninges, or connective tissue surrounding the brain. It can also affect the pineal gland. P1: Complete this section of the massage sequence by making little handles of the hair on each side, like pigtails, and then twisting the hair around your finger until you are able to pull on the hair and traction the scalp. Then using a light touch, rap the skull ten times to stimulate the brain. P2: Complete the massage of the feet. Replace the draping on the feet and tuck the client in. 10. Left Side: Shoulder, Ribs, Hips and Buttocks. In this section of the sequence the client turns onto their right side, and one therapist massages the shoulder and ribs from the side, while the other massages the hips and buttocks from the side. P1: Locate the warm massage oil and have it ready to apply. Locate the spare draping towel to use to cover the breast area for women. Then ask the client to roll over on their right side. P1 and P2: Hold the draping in place as the client turns on their side. Work together to remove the draping from the client’s right shoulder, down to the end of their buttocks. Be prepared to place the spare draping towel to cover the breasts. Tuck in the draping around the lower hip to secure it. P1: Pour oil into P2’s cupped hands and then into your own hand. P2: Spread the oil on the client’s raised hip and buttock. P1: Spread the oil on the client’s raised shoulder and exposed ribs. P1 and P2: Working in synchrony, each therapist should start massaging their respective areas on the client’s body using both hands in a swimming motion similar to the way the upper thigh was massaged. The buttock and the shoulder, both being round, can be used as the central pivot for windshield washer type strokes that conform to the body, and spread the tissues outward. Care should be taken to work the entire right side of the torso. To close this part of the sequence, stop gently together and re-cover the client with the draping, making sure to remove the spare breast draping if any. Replace the face cradle and secure the draping to allow the client to roll over prone. P1: Tell the client to turn and lie face down on the table, scooting-up to put their face in the face cradle. 11. Supine: Head and Feet. In this section of the sequence the final touches are given to the head massage. P2 can prepare the next treatment, such as chakra anointment or shirodhara. If no other treatment is scheduled, P2 assists by taking the feet of the client and grounding them. P1: Ask the client to turn over onto their back and scoot down the table a little bit. Take position at the client’s head. Massage the client’s forehead, eyebrows, and zygomae. With the client’s eyes closed, place your index, middle, and ring fingers over their lids. With very soft pressure, massage A-paan-ga, Eye of Love [37] , which spreads across the eyelid, and ends at the lateral corner of the eye. With a very gentle circular pressure you can dip your ring fingers into the lateral corner and massage the bony area. A-paan-ga relaxes and rejuvenates the eyes, and can alleviate headaches. P1: Massage the metopic suture, and then Stha-pa-nii, Inner Space [38] , located between the eyebrows at the Third Eye place. Remain in neutral energy when you touch this sacred area. Stha-pa-nii is a sira, or vessel marma. Stha-pa-nii affects the nervous and endocrine systems. It affects the pituitary, inner vision, concentration, power, the senses, and reduces anxiety and headache. Masage the client’s cheeks, jaw, and chin. Then smooth the entire face out. 12. Closing the Massage Sequence. P1 and P2: Close the sequence by doing the long Abhyanga stroke from foot to shoulder and back five times. Then stand at the feet and head of the client. Calmly ground the client energetically by passing peaceful and unifying energy through from head to toe. You can Om together or make a mantra or prayer, or just offer thanks and gratitude to your client to close the massage. Appendix 1: Advice on Technique Below are a few pointers on the different techniques specific to Ayurvedic massage including Marma and Abhbyanga. Conscious breathing is essential to promote the flow of prana. During the session both therapists and client should release tension by exhaling fully. This type of massage has the potential to generate spontaneous pranayama if the client begins emotional release. So the therapists should be trained in conscious breath in order to maximize the massage. To massage a marma point in this sequence use three counterclockwise circles to open the marma and release it. Place loving and healing energy into the marma through your fingers. Then use three clockwise strokes to close the marma and tonifiy it. As you work with marmas, you will develop an intuitive understanding of them. If the marma needs more than three strokes to fully release or to fully close, continue until you feel the work is complete. Marmas are situated within the dhatus of snayu, mamsa, and asthi. While the word dhatu is translated as “tissue,” they also have consciousness. To have the greatest therapeutic effect, access the consciousness of the dhatu of each marma. In the case of shiro and sandhi marmas, the same is true, except the consciousness is dosha and guna. So the therapists should be trained in meditation and conscious intention in order to maximize the massage. Mantra enhances the massage by taking it to a divine level. I have found the Devas Hanuman and Ganesha are specifically helpful. Chanting the bija mantras is best because you can exhale fully when you say them, and they do not require a lot of mental energy. Aum is also very good. But whatever mantra you can infuse the massage with will really help. The names of the marmas are also mantras. The English translation are mantras for visualizing the meaning of each marma. So repeat the Sanskrit and then the English name when you are using the marma. Appendix 2: Recommended Reading for Students of Marma Recommendation 1: Secrets of Ayurvedic Massage. An absolutely wonderful book. Great introduction. Wonderful writing. Secrets of Ayurvedic Massage By Atreya Craig Smith, Atreya Edition: illustrated Published by Lotus Press, 2000 ISBN 0914955497, 9780914955498 336 pages Recommendation 2: Ayurveda and Marma Therapy. Very easy to read, but you need to be really into marma and working with marma to get a lot out of it – it’s for practitioners of marma massage. Ayurveda and Marma Therapy: Energy Points in Yogic Healing By David Frawley, Subhash Ranade, Avinash Lele Edition: illustrated Published by Lotus Press, 2003 ISBN 0940985594, 9780940985599 272 pages Recommendation 3: Marma Points of Ayurveda Another book that is for people who are really working the points. If you are into TCM, this is the one for you. Marma Points of Ayurveda: The Energy Pathways for Healing Body, Mind and Consciousness By Vasant Lad, Dr Vasant Lad, Anisha Tambay Published by Ayurvedic Press, 2006 ISBN 1883725089, 9781883725082 Recommendation 4: Massage Therapy for Diseases of Vital Areas Really nice Indian book you can get from Nataraj. The author is very compassionate and wise. You can really get that from reading it. Massage Therapy for Diseases of Vital Areas By S. V. Govindam Published by Abhinav Publications, 2004 ISBN 8170174465, 9788170174462 Recommendation 5: Massage Therapy in Ayurveda Very clinical – but well worth reading and keeping for it’s reference section on oils. Massage Therapy in Ayurveda By Bhagwan Dash Published by Concept Pub. Co. , 1992 Original from the University of California Digitized Dec 14, 2006 192 pages Recommendation 6: Atlas of Human Anatomy Don’t leave home without it. Don’t wait until after school to buy it. This is a day one book. The greatest anatomy book on earth. Atlas of Human Anatomy By Frank Henry Netter, Arthur F. Dalley, Sharon Colacino Illustrated by Frank Henry Netter Edition: 2, illustrated Published by Novartis, 1997 ISBN 0914168800, 9780914168805 525 pages Recommendation 7: The Encyclopedia of Ayurvedic Massage I have thumbed through it. Looks great. The Encyclopedia of Ayurvedic Massage By John Douillard Edition: illustrated Published by North Atlantic Books, 2004 ISBN 1556434936, 9781556434938 320 pages Appendix 3: Sanskrit Definitions from the Cologne Sanskrit Lexicon This section is comprised of the raw definition data from the Sanskrit dictionary. I have included it as a reference for those individuals interested in Sanskrit. Marma from the verb mRi (death) marman n. ( %{mR}) mortal spot , vulnerable point , any open or exposed or weak or sensitive part of the body (in Nir. reckoned to be 107) RV. &c. &c. ; the joint of a limb , any joint or articulation ib. ; the core of anything , the quick ib. ; any vital member or organ (cf. %{antar-m-}) ; anything which requires to be kept concealed , secret quality , hidden meaning , any secret or mystery MBh. Ka1v. &c. abhyaGga m. rubbing with unctuous substances , inunction Mn. ii , 178 , &c. ; unguent Sus3r. &c. abhyaJj P. to smear , anoint TS. AitBr. &c.: A1. to anoint one's self: A1. (3. pl. %{abhy@a4Jjate}) to decorate RV. ix , 86 , 43: A1. %{-aGkte4} , to decorate one's self TS. (quoted in Pa1n2. 2-3 , 62 Ka1s3.) ; (in Pass. sense ; p. %{-aJjAna4}) to be decorated RV. ii , 8 , 4. abhyaJjaka mfn. (ifc.) rubbing (the feet) with unctuous substances Katha1s. abhyaJjana n. rubbing with unctuous substances , inunction (especially of the feet , once [BhP.] said of the hairs) Ka1tyS3r. Mn. &c. ; unguent (used for rubbing the feet ; cf. %{A74Jjana}) S3Br. &c. ; (5) ornament , embellishment RV. kSipra mf(%{A})n. (compar. %{kSe4pIyas} , superl. %{kSe4piSTha} , qq. vv.) springing , flying back with a spring , elastic (as a bow) RV. ii , 24 , 8 ; quick , speedy , swift S3Br. vi ; ix ; (said of certain lunar mansions) VarBr2S. ; m. N. of a son of Kr2ishn2a Hariv. 9195 ; (%{a4m}) ind. (Naigh ii , 15) quickly , immediately , directly AV. S3Br. iv ; v ; xiii Mn. MBh. &c. ; (%{am}) n. a measure of time (= 1/15 Muhu1rta or 15 Etarhis) S3Br. xii , 3 , 2 , 5 ; the part of the hand between the thumb and forefinger and the corresponding part of the foot Sus3r. ; (%{A4}) ind. (Ved. acc. pl. n.) with a shot RV. iv , 8 , 8 ; (%{At}) abl. ind. directly , immediately Katha1s. ; (%{e4}) loc. ind. id. S3Br. i ; iv ; v ; x ; [cf. Gk. $] tala (m. L.) n. ( %{stR}) surface , level , flat roof(of a house) MBh. &c. (chiefly ifc. [f. %{A} R. v , 13] cf. %{nabhas-} , %{mahI-} &c.) ; the part underneath , lower part , base , bottom Mn. ii , 59 VarBr2S. Pan5cat. &c. (cf. %{adhas-} , %{taru-} &c.) [440,3] ; (m. n.) the palm (of the hand see %{kara-} , %{pANi-}) R. ii , 104 , 17 S3ak. Ragh. vi , 18 ; the sole (of the foot , %{aGghri-} , %{pAda-}) MBh. i VarBr2S. ; (without %{kara-} &c.) the palm of the hand (%{anyo@'nyasya} , or %{parasparaM@talaM} or %{-lAn-dA} , to slap each other with the palms of the hands) MBh. Hariv. R. Sus3r. ; (n. L. ; m.) the sole of the foot R. v , 13 , 47 ; (m.) the fore-arm L. ; = %{tAla} (a span L. ; the handle of a sword L. ; the palmyra tree Viddh. ii , 13) ; pressing the strings of a lute with the left hand MBh. viii ; m. N. of a hell A1run2Up. S3ivaP. (cf. %{talA7tala}) ; S3iva MBh. xiii , 17 , 130 ; N. of a teacher g. %{zaunakA7di} ; n. = %{-hRdaya} L. ; = %{talka} L. ; = %{talaka} (q.v.) L. ; = %{talla} (q.v.) L. ; the root or seed of events L. ; = %{-tra} A1s3vGr2. iii , 12 , 11 (%{tala}) MBh. R. ; (%{A}) f. id. L. ; N. of a daughter of Raudra7s3va Va1yuP. ii , 37 , 122 ; cf. %{a-} , %{jihvA-} , %{ni-} , %{nis-} , %{pra-} , %{mahA-} , %{rasA-} , %{vi-} , %{su-}. hRdaya n. (ifc. f. %{A}) the heart (or region of the heart as the seat of feelings and sensations ; %{hRdaye-kR} , `" to take to heart "') , soul , mind (as the seat of mental operations ; %{capala-hRdaya} , `" fickleminded "') RV. &c. &c. ; the heart or interior of the body RV. AV. TBr. MBh. ; the heart or centre or core or essence or best or dearest or most secret part of anything AV. &c. &c. ; true or divine knowledge MW. ; the Veda ib. ; science ib. ; (with %{prajApateH}) N. of a Sa1man IndSt. ; m. a partic. Sunday BhavP. ; (%{A}) f. N. of a mare Hariv. ; mfn. going to the heart Bha1gP. (fr. %{hRd} + %{aya} Sch.) maNi m. (%{i} f. only L. ; %{I} f. Sin6ha7s. ; %{maNI7va} = %{maNI} [du.] %{iva} Naish.) a jewel , gem , pearl (also fig.) , any ornament or amulet , globule , crystal RV. &c. &c. ; a magnet , loadstone Kap. ; glans penis Sus3r. ; N. of the jewel-lotus prayer MWB. 37 2 ; clitoris L. ; the hump (of a camel) MBh. ; the dependent fleshy excrescences on a goat's neck VarBr2S. ; thyroid cartilage L. (cf. %{kaNTha-m-}) ; the wrist (= %{mñmaNi4-bandha}) L. ; a large water-jar L. ; N. of a Na1ga MBh. ; of a companion of Skanda (associated with Su-man2i) ib. ; of a sage ib. ; of a son of Yuyudha1na ib. (in Hariv. v.l. %{tUNi}) ; of a king of the Kim-n2aras , Ka1ran2d. ; of various wks. and a collection of magical formulas (also abridged for Tattva-cinta1man2i and Siddha7nta-s3iroman2i). [Cf. Gk. &235359[774 ,3] $ , $ ; Lat. {monile} ; Germ. {mane} , {Ma1hne} ; Eng. {mane}.] bandha m. binding , tying , a bond , tie , chain , fetter RV. &c. &c. ; a ligature , bandage Sus3r. ; damming up (a river) Ma1rkP. ; capture , arrest , imprisonment , custody Mn. MBh. &c. ; connection or intercourse with (comp.) Pan5cat. BhP. (ifc. = connected with , conducive to MBh.) ; putting together , uniting , contracting , combining , forming , producing MBh. Ka1v. &c. ; joining (the hollowed hands) Ragh. ; anything deposited (%{-dhe-sthA} = to remain deposited) Campak. ; a deposit , pledge Ra1jat. ; any configuration or position of the body (esp. of the hands and feet) Ragh. Kum. ; a partic. mode of sexual union (there are said to be 16 , 18 , 36 , or even 84 L.) , Caur. ; constructing , building (of a bridge &c.) MBh. Ra1jat. ; bridging over (the sea) Vcar. ; knitting (the brows) Ra1jat. ; fixing , directing (mind , eyes , &c.) Cat. ; assumption , obtainment (of a body) Ragh. ; (ifc.) conceiving , cherishing , feeling , betraying Hariv. Ka1lid. ; a border , framework , inclosure , receptacle L. ; a sinew , tendon L. ; the body L. ; (in phil.) mundane bondage , attachment to this world S3vetUp. Bhag. &c. (opp. to %{mukti} , %{mokSa} , `" final emancipation "' , and regarded in the Sa1m2khya as threefold , viz. %{prakRti-} , %{vaikArika-} , and %{dakSiNA-b-}) ; combination of sounds (in rhet.) , construction or arrangement of words Ka1vya7d. Prata1p. ; arrangement of a stanza in a partic. shape Kpr. ; arrangement of musical sounds , composition S3atr. ; a disease which prevents the eyelids from quite closing Sus3r. ; (ifc. with numerals) a part (cf. %{paJca-} , %{daza-b-}). 1 indra m. (for etym. as given by native authorities see Nir. x , 8 Sa1y. on RV. i , 3 , 4 Un2. ii , 28 ; according to BRD. fr. %{in} = %{inv} with suff. %{ra} preceded by inserted %{d} , meaning `" to subdue , conquer "' [166,2] ; according to Muir , S. T. v , 119 , for %{sindra} fr. %{syand} , `" to drop "' ; more probably from %{ind} , `" to drop "' q.v. , and connected with %{indu} above) , the god of the atmosphere and sky ; the Indian Jupiter Pluvius or lord of rain (who in Vedic mythology reigns over the deities of the intermediate region or atmosphere ; he fights against and conquers with his thunder-bolt [%{vajra}] the demons of darkness , and is in general a symbol of generous heroism ; %{indra} was not originally lord of the gods of the sky , but his deeds were most useful to mankind , and he was therefore addressed in prayers and hymns more than any other deity , and ultimately superseded the more lofty and spiritual Varun2a ; in the later mythology %{indra} is subordinated to the triad Brahman , Vishn2u , and S3iva , but remained the chief of all other deities in the popular mind) RV. AV. S3Br. Mn. MBh. R. &c. &c. ; (he is also regent of the east quarter , and considered one of the twelve A1dityas) Mn. R. Sus3r. &c. ; in the Veda1nta he is identified with the supreme being ; a prince ; ifc. best , excellent , the first , the chief (of any class of objects ; cf. %{sure7ndra} , %{rAje7ndra} , %{parvate7ndra} , &c.) Mn. Hit. ; the pupil of the right eye (that of the left being called Indra1n2i1 or Indra's wife) S3Br. Br2A1rUp. ; the number fourteen , Su1ryas ; N. of a grammarian ; of a physician ; the plant Wrightia Antidysenterica (see %{kuTaja}) L. ; a vegetable poison L. ; the twenty-sixth Yoga or division of a circle on the plane of the ecliptic ; the Yoga star in the twenty-sixth Nakshatra , $ Pegasi ; the human soul , the portion of spirit residing in the body ; night L. ; one of the nine divisions of Jambu-dvi1pa or the known continent L. ; (%{A}) f. the wife of Indra see %{indrANI} ; N. of a plant L. ; (%{I}) f. N. of an attendant of Devi1. iSvastra n. `" arrow-thrower "' , a bow Ragh. R. kUrpara m. the elbow Sus3r. Das3. Ba1lar. Comm. on Ka1tyS3r: the knee L. ; N. of a village ; (%{A}) f. the elbow L. kRka m. the throat , larynx L. (cf. %{kR4kATa}) ; the navel Comm. on Un2. i , 6. kRkATa n. the joint of the neck AV. ix , 7 , 1 ; (%{I}) f. id. VarBr2S. li , 9. kRkATaka n. the neck L. ; a part of a column R. VarBr2S. ; (%{ikA}) f. the joint of the neck Sus3r. kUrca m. rarely n. (g. %{ardharcA7di}) a bunch of anything , bundle of grass , &c. (often used as a seat) TS. vii S3Br. &c. ; a fan , brush NarasP. ; a handful of Kus3a grass or peacock's feathers Comm. on MBh. ; m. (n. L.) `" ball , roll "'N. of certain parts of the human body (as the hands , feet , neck , and the membrum virile) Sus3r. [300,2] ; the upper part of the nose (the part between the eyebrows) L. ; (%{as} L. ; %{am}) m. n. the beard Ka1d. Ra1jat. BhavP. ; (beard of a buck) Comm. on Ka1tyS3r. ; (Pra1kr2it {kucca}) S3ak. ; the tip of the thumb and middle finger brought in contact so as to pinch &c. W. ; deceit , fraud , hypocrisy L. ; false praise , unmerited commendation either of one's self or another person , boasting , flattery L. ; hardness , solidity L. ; m. the head L. ; a store-room L. ; the mystical syllable %{huM} , or %{hrUM}. kUrpara m. the elbow Sus3r. Das3. Ba1lar. Comm. on Ka1tyS3r: the knee L. ; N. of a village ; (%{A}) f. the elbow L urvI f. (cf. %{uru4}) , `" the wide one "' , the wide earth , earth , soil RV. i , 46 , 2 ; ii , 4 , 7 S3ak. Mn. &c. ; (%{vI4}) f. du. `" the two wide ones "' , heaven and earth RV. vi , 10 , 4 ; x , 12 , 3 ; 88 , 14 ; (%{vya4s}) f. pl. (with and without %{SaS}) the six spaces (viz. the four quarters of the sky with the upper and lower spaces) RV. AV. ; (also applied to heaven , earth , day , night , water , and vegetation) S3a1n3khS3r. ; (also to fire , earth , water , wind , day and night) S3Br. i , 5 , 1 , 22 ; rivers Nir. UrvI f. the middle of the thigh Sus3r. [221,3] nAbhi f. (prob. fr. 1. %{nabh} , `" to burst asunder or into a hole "' ; ifc. f. %{i} or %{I} Va1m. v , 49) the navel (also nñnavel-string cf. %{-kRntana}) , a navel-like cavity RV. &c. &c. (in later language also m. and %{-bhI} f.) ; the nave of a wheel ib. (also m. L. , and %{-bhI} f.) ; centre , central point , pñpoint of junction or of departure , home , origin , esp. common oñorigin , affinity , relationship ; a near relation or friend ib. (m. L.) ; musk: (= %{mRra-n-}) L. ; m. or f. musk-deer Megh. 53 (?) BhP. ; m. a chief (= central point) of (gen.) Ragh. xviii , 19 (cf. %{maNDala-nAbhi-tA}) ; a sovereign or lord paramount (= %{mukhya-rAj}) L. ; a Kshatriya L. ; N. of a grandson of Priya-vrata (son of Agnidhra and father of R2ishabha) Pur. ; of the father of R2ishabha (first Arhat of the present Avasarpin2i) L. [Cf. Angl. Sax. {nafu} , {nafela} ; Germ. {naba} , {Nabe} , {nabolo} , {Nabel} ; Eng. {nave} , {navel}.] manyA f. du. and pl. the back or the nape of the neck (musculus cucullaris or trapezius) AV. VS. Sus3r. ; m. (l) the middle of an elephant's goad L. mAnya mfn. to be respected or honoured , worthy of honour , respectable , venerable Mn. MBh. &c. ; (%{mAnya4}) m. patr. fr. 1. %{mA4na} RV. i , 163 , 14 , &c. ; N. of Maitra1varun2i (author of RV.viii , 67) RAnukr. manyAgata mfn. being on the nape of the neck Sus3r. manyAgraha m. spasm or contraction of the neck Sus3r. S3a1rn3gS. manyAkA f. the nape of the neck L FROM http://srimadbhagavatam.com/m/manya manya-mānaḥ — thinking; SB 9.14.42 mānya-gaṇa — respectable members; CC Adi 3.94 mānya — honor; CC Adi 10.140 loka-mānya kalevara — the body beloved by the people in general; CC Adi 13.119 mānya — respectable; CC Madhya 6.54 mānya kari' — offering respect; CC Madhya 9.292 mānya kari' — with great respect; CC Madhya 9.349 mānya — respectable; CC Madhya 10.142 mānya-pātra — honorable; CC Madhya 11.83 mānya kari' — offering respect; CC Madhya 19.87 mānya-pūjā — respect and worship; CC Madhya 21.63 mānya-māna-kṛt — respectful to the respectable; CC Madhya 23.73 mānya-pātra — worshipable object; CC Antya 5.142 mānya kari' — giving honor; CC Antya 6.64 mānya kari' — with great respect; CC Antya 7.6 mānya kari' — with great honor; CC Antya 7.135 From http://www.biology-online.org/dictionary/Mane Mane The long and heavy hair growing on the upper side of, or about, the neck of some quadrupedal animals, as the horse, the lion, etc. Origin: as. Manu; akin to od. Mane, D. Maan, g. Mahne, OHG. Mana, Icel. Mon, dan. & Sw. Man, as. Mene necklace, Icel. Men, L. Monile, gr, Skr. Manya neck muscles. sirA f. (fr. %{sR}) a stream , water RV. i , 121 (cf. Naigh. i , 12 ; often written %{zirA}) ; any tubular vessel of the body , a nerve , vein , artery , tendon &c. Sus3r. Ya1jn5. MBh. &c. ; a vein-like channel or narrow stream of river water VarBr2S. ; lines which cross each other like veins ib. ; a bucket , baling-vessel L. sirAmUla n. `" root of the veins "' , the navel ib. mAtrika (ifc.) all , every kind of (e.g. %{mRgamAtrika} pl. all kinds of deer) Sus3r. ; f. a prosodial instant , mora RPra1t. (mfn. containing one prosodial instant or mora VPra1t. Sch.) ; a model , paragon Ba1lar. mAtRkA f. a mother (also fig. = source , origin) Ka1v. Katha1s. Pur. ; a divine mother (cf. under %{mAtR}) RTL. 188 ; a nurse L. ; a grandmother Das3. ; N. of 8 veins on both sides of the neck (prob. so called after the 8 divine mñmother) Sus3r. ; N. of partic. diagrams (written in characters to which a magical power is ascribed ; also the alphabet so employed ; prob. only the 14 vowels with Anusva1ra and Visarga were originally so called after the 16 divñdivine mñmagical) Ra1matUp. Pan5car. ; any alphabet Hcat. ; (pl.) Lalit. ; a wooden peg driven into the ground for the support of the staff of Indra's banner VarBr2S. ; N. of the wks. included in the Abhidharsna-pit2aka Buddh. ; of the wife of Aryaman BhP. ; = %{karaNa} L. http://en.wikipedia.org/wiki/Matrikas AkAza m. (Ved.) or (later) n. (ifc. f. %{A}) a free or open space , vacuity AitBr. S3Br. MBh. &c. [127,1] ; the ether , sky or atmosphere Naigh. S3Br. Mn. &c. ; (%{am}) n. (in philos.) the subtle and ethereal fluid (supposed to fill and pervade the universe and to be the peculiar vehicle of life and of sound) Veda1ntas. &c. ; Brahma (as identical with ether) L. ; = %{AkAza-bhASita} below Comm. on S3ak. ; (%{e}) loc. ind. in the air (a stage direction implying something said by or to a person out of sight) Mr2icch. S3ak. &c. akSaka m. Dalbergia Oujeinensis ; (%{as} , %{am}) m. n. the collar-bone Sus3r. ; (%{I}) f. N. of a creeping plant. 1 akSa 1 m. an axle , axis (in this sense also n. L.) ; a wheel , car , cart ; the beam of a balance or string which holds the pivot of the beam ; a snake L. ; terrestrial latitude (cf. %{-karNa} , %{-bhA} , %{-bhAga}) ; the collar-bone S3Br. ; the temporal bone Ya1jn5. ; N. of a measure (= 104 an3gula) ; [cf. Lat. {axis} ; Gk. $ ; Old Germ. {ahsa} ; &634[3,1] Mod. Germ. {Achse} ; Lith. {assis}.] akSa 3 n. an organ of sense ; sensual perception L. ; m. the soul L. ; knowledge , religious knowledge L. ; a lawsuit L. ; a person born blind L. ; N. of Garud2a L. ; of a son of Ra1van2a ; of a son of Nara , &c. nIla mf(%{A} or %{I} ; cf. Pa1n2. 4-1 , 42 Va1rtt. Va1m. v , 2 , 48)n. of a dark colour , (esp.) dñdark-blue or dñdark-green or black RV. &c. &c. ; dyed with indigo Pa1n2. 4-2 , 2 Va1rtt. 2 Pat. ; m. the sapphire L. (with %{maNi} R. iii , 58 , 26) ; the Indian fig-tree (= %{vaTa}) L. ; = %{nIla-vRkSa} L. ; a species of bird the blue or hill Maina L. ; an ox or bull of a dark colour L. ; one of the 9 Nidhis or divine treasures of Kubera L. ; N. of a man g. %{tikA7di} ; of the prince of Ma1hishmati1 MBh. ; of a son of Yadu Hariv. ; of a son of Aja-mi1d2ha BhP. ; of a son of Bhuvana-ra1ja Ra1jat. ; of an historian of Kas3mi1ra ib. ; of sev. authors (also %{-bhaTTa}) Cat. ; N. of Man5jus3ri1 L. ; of a Na1ga MBh. Ra1jat. ; of one of the monkey-chiefs attending on Ra1ma (said to be a son of Agni) MBh. R. &c. ; the mountain Ni1la or the blue mñmountain (immediately north of Ila7vr2ita or the central division ; cf. %{nIlA7dri}) MBh. Hariv. Pur. ; (%{A}) f. the indigo plant (Indigofera Tinctoria) L. (cf. %{nIlI}) ; a species of Boerhavia with blue blossoms L. ; black cumin L. ; a species of blue fly L. ; (du.) the two arteries in front of the neck L. ; a black and blue mark on the skin L. ; N. of a goddess W. ; (in music) of a Ra1gin2i (personified as wife of Malla1ra) ; of a river MBh. (v.l. %{nAlA}) ; (%{I}) f. the indigo plant or dye Mn. Var. Sus3r. &c. Blyxa Octandra. L. ; a species of blue fly L. ; a kind of disease L. ; N. of the wife of Aja-mi1d2ha MBh. Hariv. (v.l. %{nalinI} and %{nIlinI}) ; n. dark (the colour) , darkness TS. KaushUp. ; any dark substance S3Br. ChUp. ; = %{tAlI-pattra} and %{tAlI7za} L. ; indigo Ya1jn5. iii. 38 ; black salt L. ; blue vitriol L. ; antimony L. ; poison L. ; a partic. position in dancing L. ; a kind of metre Col. UrvI f. the middle of the thigh Sus3r. [221,3] uru mf(%{vI4})n. (1. %{vR} ; %{UrNu} Un2. i , 32) , wide , broad , spacious , extended , great , large , much , excessive , excellent RV. AV. MBh. Ragh. ; (%{us}) m. N. of an A1n3girasa A1rshBr. ; of a son of the fourteenth Manu BhP. VP. ; (%{vI}) f. the earth ; see %{urvI4} , p. 218 , col. 1 ; (%{u}) n. wide space , space , room RV. (with %{kR} , to grant space or scope , give opportunity RV.) ; (%{u}) ind. widely , far , far off RV. ; (%{uruyA4} MaitrS. ; 1. %{urvyA4} and %{urviyA4} instr. of the fem.) ind. far , far off , to a distance RV. VS. TS. ; compar. %{varIyas} , superl. %{variSTha} ; [cf. Gk. $ , $ , &c.: Hib. { ur } , `" very "' ; &68196[217 ,3] %{uras} , `" power , ability. "'] 2 Uru m. [the f. may be %{U} at the end of compounds in comparison Pa1n2. 4-1 , 69] , (fr. %{UrNu} Un2. i , 31) the thigh , shank RV. AV. VS. TS. S3Br. MBh. Mn. &c. ; N. of an A1n3girasa and author of a Vedic hymn ; N. of a son of Manu Ca1kshusha. aNi m. or the point of a needle or of a sharp stake L. aNI f. the point of a needle or of a sharp stake L. ; linch-pin L. ; the pin or bolt at the end of the pole of a carriage L. ; the corner or part of a house L. ; a boundary L. ANi m. (cf. %{aNi}) the pin of the axle of a cart RV. i , 35 , 6 ; 63 , 3 [`" battle "' Naigh. ii , 17] and v , 43 , 8 ; the part of the leg just above the knee Sus3r. ; (%{is}) mf. a linch-pin L. ; the corner of a house L. ; a boundary L. jAnu n. (rarely m. MBh. iv , 1115 Ra1jat. iii , 345) the knee RV. x , 15 , 6 AV.ixf. VS. &c. (%{-nubhyAm@avaniM-gam} `" to fall to the ground on one's knees "' MBh. , xiii , 935) ; (as a measure of length) = 32 An3gulas S3ulbas. ; [cf. $ Lat. {genu} ; Goth. {kniu} ; Germ. {Knie}.] indravasti m. the calf (of the leg) Sus3r. vatsadanta m. `" calf-toothed "' , a kind of arrow (having a point like a calf's tooth) MBh. R. (also %{-taka}) ; N. of a mythical person Virac. ; n. an arrow point like a calf's tooth S3a1rn3gP. iSvastra n. `" arrow-thrower "' , a bow Ragh. R. gulpha m. (= %{kulpha4} ; %{gal} Un2. v) the ancle AV. x , 2 , 1 f. Kaus3. Ya1jn5. iii , 86 MBh. &c. (ifc. f. %{A} [Pa1n2. 4-1 , 54 Ka1s3.] MBh. iv , 253). gulphajAha n. the root of the ancle g. %{karNA7di}. gulphinI f. (for %{-lminI} ?) an army Gal. gulphita n. (= %{guSpita4}) accumulation A1pS3r. x , 10 , 3 (= xiii , 7 , 16) (cf. %{vi-gulpha}.) guluccha m. (= %{guccha}) a bunch , nosegay , cluster of blossoms L. gulucchakanda m. N. of a bulbous root L. (v.l. %{-laJca-k-}). nitamba m. the buttocks or hinder parts (esp. of a woman ; mostly du. ; ifc. f. %{A} ; %{-tA} f.) ; (fig.) the ridge or side or swell of a mountain , the sloping bank or shore of a river MBh. Ka1v. &c. ; the shoulder L. [547,2] ; the sounding-board of the Vi1n2a1 Ka1v. ; a partic. position of the hands in dancing Cat. ; (%{A}) f. a form of Durga1 Cat. ; %{-prabhava} mfn. (river) coming from the slope of a mountain BhP. bRhatI f. fr. %{bRka4t}N. of a partic. metre of 36 (orig. 8+ 8+12+8) syllables or (later) anymetre containing 36 syllables (ifc. %{-tIka} mfn. ) RV. RPra1t. AV. Br. &c. ; a symbolical expression for the number 36 S3rS. ; (pl.) N. of partic. bricks forming part of the sacrificial fire-altar S3Br. S3ulbas. ; a partic. Solanum (%{-dvaya} n. two species of it) , Saln3khGr2. Sus3r. ; a part of the body between the breast and backbone Sus3r. ; (du.) heaven and earth Gal. ; speech (a sense inferred from certain passages) ; a mantle , wrapper L. ; a place containing water , reservoir L. ; the lute of Na1rada or Vis3va1-vasu L. ; N. of two wks. ; N. of sev. women Hariv. BhP. bRhat mf(%{atI4})n. (in later language usually written %{vRhat}) lofty , high , tall , great , large , wide , vast , abundant , compact , solid , massy , strong , mighty RV. &c. &c. ; full-grown , old RV. ; extended or bright (as a luminous body) ib. ; clear , loud (said of sounds) ib. ; m. N. of a Marut Hariv. ; of a prince MBh. ; of a son of Su-hotra and father of Aja-mid2ha Hariv. m. or n. (?) speech (%{-tAm@pati} = %{bRhaspati}) S3is3. ii , 26 ; (%{tI}) f. see s.v. ; n. height (also= heaven , sky) RV. ; N. of various Sa1mans composed in the metrical form Br2ihati1 (also with %{Aneyam} , %{bharad-vAjasya}. %{bhAradvAjam} , %{vAmadevyam} , %{sauram}) A1rshBr. [736,1] ; N. of Brahman , Bhp. ; of the Veda ib. ; (%{a4t}) ind. far and wide , on high RV. ; firmly , compactly ib. ; brightly ib. ; greatly , much ib. ; aloud ib. (also %{atA4} AV.) aMsaphalaka n. shoulderblade S3Br. Sus3r. aMsa m. the shoulder , shoulder-blade ; corner of a quadrangle ; N. of a king ; (%{au}) m. du. the two shoulders or angles of an altar ; a share (for %{aMza}) ; [cf. Goth. {amsa} ; Gk. $ , $ ; Lat. {humerus} , &124[1 ,2] {ansa}.] phalaka (ifc. f. %{ikA}) = %{phala} , fruit , result , gain (%{-tva} n.) Kull. on Mn. ii , 146 ; menstruation (cf. %{nava-phalikA}) ; (%{pha4laka}) n. (m. g. %{ardharcA7di} ; ifc. f. %{A}) a board , lath , plank , leaf. bench Br. Gr2S3rS. , &c. ; a slab or tablet (for writing or painting on ; also = page , leaf) Ka1v. Ya1jn5. Sch. Lalit. ; a picture (= %{citra-ph-}). Mr2icch. iv , 3/4 ; a gamingboard (cf. %{zAri-ph-}) ; a wooden bench MBh. ; a slab at the base (of a pedestal ; cf. %{sphaTika-ph-}) ; any flat surface (often in comp. with parts of the body , applied to broad flat bones cf. %{aMsa-} , %{phaNA-} , %{lalATa-ph-} &c.) ; the palm of the hand S3Br. ; the buttocks L. ; the top or head of an arrow Kull. on Mn. vii , 90 ; a shield MBh. ; bark (as a material for clothes) MBh. Hariv. ; the pericarp of a lotus S3is3. ; = %{-yantra} Gol. ; a layer W. ; the stand on which a monk keeps his turban Buddh. ; m. Mesua Roxburghii L. ; (%{A} or %{ikA}) f. see below. phalakA f. v.l. for %{halakA} g. %{pre7kSA7di}. hAla m. = %{hala} , a plough L. ; a `" scraper "' (kind of bird) Sus3r. Sch. ; N. of Bala-ra1ma (cf. %{haladhara}) L. ; of Sa1tavahana Cat. ; of a king (son of Arishta-karman) VP. ; (%{A}) f. spirituous liquor (a provincial term accord. to Va1m. v , 1 , 13 ; (%{I}) f. a wife's younger sister L. guda m. an intestine , entrail , rectum , anus VS. TS. vi S3Br. iii , viii Kaus3. &c. ; (ifc. f. %{A} g. %{krodA7di} [or %{I} g. %{bahv-Adi} , not in Ka1s3. and in g. %{zoNA7di}]) ; n. id. ; m. du. with %{kauSThyau} , the two intestines Ya1jn5. iii , 95 ; (%{gu4dAs}) f. pl. the bowels RV. x , 163 , 3 VS. AV. ix-xi S3Br. x , xii. gu 2 ifc. `" going "' see %{a4dhri-gu} , %{vanar-gu4} (cf. also %{priya4Mgu} , %{zAci-gu}) ; `" fit for "' see %{tAta-gu} , %{nigu} (cf. %{agre-gU4}.) gu 3 cl. 1 A1. %{gavate} , to sound Dha1tup. xxii , 52: Intens. A1. (1. and 3. sg. %{jo4guve} , p. %{jo4guvAna}) `" to cause to sound "' , proclaim RV. i , 61 , 14 ; v , 64 , 2 TBr. ii Ka1t2h. xiii , 11 f.: P. (impf. %{agaGgUyat} for %{aguGg-}) to shout with joy Ta1n2d2yaBr. xiv , 3 , 19 (cf. %{prati-} 3. %{gu} and %{jo4gU}.) [356,2] gu 4 (= 1. %{gU} q.v.) cl. 6. P. %{guvati} , to void by stool Dha1tup. xxviii , 106 (cf. %{vi-gUna}.) gu 5 ifc. = %{go4} , `" cow ; earth ; ray "' (Pa1n2. 1-2 , 48) see %{a4-gu} , %{anu-gu} , %{anuSNa-gu} , %{a4riSTagu} , %{upa-gu} , %{uSNa-gu} , %{kRza4-gu} , %{tamo-gu} , &c. ; (%{u}) n. water L. ; the hair on the body L. zaGkha m. n. (ifc. f. %{A}) a shell , (esp.) the conch-shell (used for making libations of water or as an ornament for the arms or for the temples of an elephant ; a conch-shell perforated at one end is also used as a wind instrument or horn ; in the battles of epic poetry, each hero being represented as provided with a conch-shell which serves as his horn or trumpet and of ten has a name) AV. &c. &c. IW. 403 ; a partic. high number (said to = a hundred billions or 100 , 000 krores) MBh. ; m. the temporal bone , temple (accord. to some also , the bone of the forehead "' or , frontal bone "') Ya1jn5. MBh. &c. ; an elephant's cheek or the part between the tusks (%{hasti-danta-madhya}) L. ; N. of the teeth of an elephant 23 years old VarBr2S. ; Unguis Odoratus L. ; a partic. Mantra Gobh. ; a kind of metre , Ked N. of one of Kubera's treasures and of the being presiding over it MBh. Ka1v. &c. ; a military drum or other martial instrument W. ; N. of one of the 8 chiefs of the Na1gas (q.v.) MBh. Hariv. Pur. [1047,3] ; of a Daitya (who conquered the gods , stole the Vedas , and carried them off to the bottom of the sea , from whence they were recovered by Vishn2u in the form of a fish) ib. ; of a demon dangerous to children A1pGr2. Sch. ; of a mythical elephant R. ; N. of various men (pl. N. of a Gotra) AV. &c. &c. ; of a son of Vira1t2a MBh. ; of a son of Vajra-na1bha Hariv. Pur. ; of a law-giver (often mentioned together with his brother Likhita , q.v.) Ya1jn5. MBh. &c. (cf. comp. below) ; of the author of RV. x , 15 (having the patr. Ya1ma1yana) Anukr. ; of another poet Cat. ; of a country in the south of India (said to abound in shells) VarBr2S. (cf. g. %{zaNDikA7di}) ; of a mountain Hariv. Pur. ; of a forest VP. ; (%{A}) f. a kind of flute Sam2gi1t. [Cf. Gk. , $ ; Lat. {concha} , &317094[1047 ,3] {cangius}.] apAGga mfn. without limbs or without a body L. ; m. (ifc. f. %{A} , or %{I}) the outer corner of the eye S3a1k. &c. ; a sectarial mark or circlet on the forehead R. ; N. of Ka1ma (the god of love) L. ; = %{apA7mArga4} L. apAGgadarzana n. or a side glance , a leer. apAGgadesa m. the place round the outer corner of the eye. apAGgadRSTi f. a side glance , a leer. apAGgaka m. = %{apA7mArga4}. apAGganetra mf(%{A})n. casting side glances Vikr. ApAGgya n. (fr. %{apA7Gga}) , anointing the corners of the eyes Sus3r. sthapanI f. the space between the eye-brows (v.l. %{sthapaNI}) Sus3r. 2 sthApana mfn. (fr. Caus.) causing to stand &c. ; maintaining , preserving (see %{vayaH-sth-}) ; fixing , determining Sa1h. ; (%{A}) f. the act of causing to stand firmly or fixing , supporting (as an attribute of the earth) MBh. Hcat. ; storing , keeping , preserving Campak. ; fixed order or regulation ib. ; establishing , establishment , dialectical proof (of a proposition ib. Car. Sarvad. ; arranging , regulating or directing (as a drama &c.) , stage-management (cf. %{sthA-paka}) W. ; (%{I}) f. Clypea Hernandifolia L. ; (%{am}) n. causing to stand , fixing , establishing , founding , instituting , raising , erecting (an image &c.) VarBr2S. Inscr. ; putting or placing or laying upon (comp.) Sus3r. Naish. Sch. ; fastening , fixing , rendering immovable BhP. ; hanging , suspending Cat. ; strengthening (of the limbs) , preservation or prolongation (of life) or a means of strengthening &c. Sus3r. Car. ; a means of stopping (the flow of blood) , styptic ib. ; storage (of grain) Kr2ishis. ; establishment or dialectical proof of a proposition Madhus. ; statement , definition Sa1h. ; a partic. process to which quicksilver is subjected Sarvad. ; = %{puM-savana} L. ; fixing the thoughts , abstraction W. ; a dwelling , habitation ib. nADi 2 f. any tube or pipe , (esp.) a tubular organ (as a vein or artery of the body) BhP. (cf. %{nADI}). adhipati m. = %{adhi-pa} ; (in med.) a particular part of the head (where a wound proves instantly fatal). adhi 2 ind. , as a prefix to verbs and nouns , expresses above , over and above , besides. As a separable adverb or preposition ; (with abl.) Ved. over ; from above , from ; from the presence of ; after AitUp. ; for ; instead of RV. i , 140 , 11 , (with loc.) Ved. over ; on ; at ; in comparision with ; (with acc.) over , upon , concerning. pati 1 m. (cf. 1. %{vat} ; when uncompounded and meaning `" husband "' instr. %{pa4tya} ; dat. %{pa4tye} ; gen. abl. %{pa4tyur} ; loc. %{pa4tyau} ; but when meaning `" lord , master "' , and ifc. regularly inflected with exceptions ; cf. Pa1n2. 1-4 , 8 ; 9) a master , owner , possessor , lord , ruler , sovereign RV. &c. &c. ; a husband ib. (in comp. either with the stem or with the gen. , e.g. %{duhitR-p-} or %{-tuH-p-} Pa1n2. 6-3 , 24 ; when mfn. f. = m. e.g. %{-jIvat-patyA@tvayA} R. ii , 24 , 8 , or %{patikA} e.g. %{pramIta-patikA} Mn. ix , 68) ; one of the 2 entities (with %{pAzupata4s}) RTL. 89 ; a root L. ; f. a female possessor , mistress Pa1n2. 4-1 , 33 Sch. ; a wife (%{vRddha-p-} = %{-patnI} , the wñwife of an old man ib. 34 Sch.) [Cf. Gk. $ , `" husband "' ; &178937[582 ,1] Lat. {potis} , %{pos-sum} for %{potis-sum} ; Lith. {patis} , `" husband "' ; Goth. ({bruth-}) {faths} , `" bridegroom "'] sImanta m. (ifc. %{A} ; cf. %{sImA7nta}) parting of the hair AV. Gr2S3rS. MBh. &c. ; = %{sImanto7n-nayana} below Ya1jn5. i , 11 ; a line of separation on the human body (14 are enumerated , corresponding to the joints of the bones or Asthi-sam2gha1tas) Sus3r. ; a boundary , limit MBh. ; N. of a son of king Bhadra-sena Cat. ; of a poet ib. apastamba m. a vessel inside or on one side of the chest containing vital air Bhpr. apas 1 %{as} n. (fr. 1. %{a4p}) , work , action , especially sacred act , sacrificial act RV. [Lat. %{opus}.] apas mfn. active , skilful in any art RV. ; (%{a4sas}) f. pl.N. of the hands and fingers (when employed in kindling the sacred fire and in performing the sacrifices) RV. ; of the three goddesses of sacred speech RV. VS. ; of the active or running waters RV. AV. apas mfn. (fr. 2. %{a4p}) , watery. (So some passages of the R2ig-veda [i , 95 , 4 , &c.] may (according to NBD. and others) be translated where the word is applied to the running waters see 2. %{apa4s} at end and %{apa4s-tama}.) apAs (1. %{as}) , `" to be absent from , not to participate in "' see %{apa-pare7}. apAs (2. %{as}) , to fling away , throw away or off , discard , to scare , drive away ; to leave behind ; to take no notice of , disregard. 6 Apas n. (connected with 1. %{ap}) , a religious ceremony RV. Apas n. (fr. 2. %{ap}) , water ChUp. stamba m. (prob. phonetic variation of %{stambha}) a clump or tuft of grass , any clump or bunch or cluster AV. &c. &c. ; a sheaf of corn L. a bush , thicket L. [1258,1] ; a shrub or plant having no decided stem (such as the Jhin2t2i1 or Barleria) L. ; the post to which an elephant is tied (wrongly inferred from %{stambe-rama} q.v.) L. ; a mountain L. ; N. of various men Hariv. Pur. ; n. (in these senses prob. w.r. for %{stambha} , m.) a post , pillar in general W. ; stupidity , insensibility W. hRdaya n. (ifc. f. %{A}) the heart (or region of the heart as the seat of feelings and sensations ; %{hRdaye-kR} , `" to take to heart "') , soul , mind (as the seat of mental operations ; %{capala-hRdaya} , `" fickleminded "') RV. &c. &c. ; the heart or interior of the body RV. AV. TBr. MBh. ; the heart or centre or core or essence or best or dearest or most secret part of anything AV. &c. &c. ; true or divine knowledge MW. ; the Veda ib. ; science ib. ; (with %{prajApateH}) N. of a Sa1man IndSt. ; m. a partic. Sunday BhavP. ; (%{A}) f. N. of a mare Hariv. ; mfn. going to the heart Bha1gP. (fr. %{hRd} + %{aya} Sch.) Footnotes [1] Sanskrit Dictionary: kshipra mf n. (compar, superl.) springing, elastic; quick, speedy , swift; the part of the hand between the thumb and forefinger and the corresponding part of the foot Susruta. [2] Sanskrit Dictionary: tal-hridaya is a compound name comprising of tala (m. n.) the palm (of the hand see kara-tala). hridaya n. (f). the heart (or region of the heart as the seat of feelings and sensations; soul, the heart or centre or core or essence or best or dearest or most secret part of anything). [3] Sanskrit Dictionary: kuurcha m. a bunch of anything, name of certain parts of the human body (as the hands, feet, neck) Susruta. [300,2]; the tip of the thumb and middle finger brought in contact so as to pinch. Thus, a “pinch” (of something). [4] After looking at the Sanskrit meaning, I believe that Kuur-cha, Little Bundle, is located in the center of the thenar eminence, since the muscle fibers represent a bundle or mound at that spot. As for the sequence, it makes sense to work the thenar eminence after working Tal-hridaya. [5] Sanskrit Dictionary: maNi m. a jewel, gem, pearl, any ornament or amulet; the wrist (maNibandha). bandha m. binding, tying, joining. For the reader’s convenience, I have anglicized the retroflex “N” as “n” in the transliteration of the Sanskrit name of the marma. Also note that in Indian palmistry, “manibandha rekha” refers to the three lines that look like bracelets going across the anterior wrist joint. I have chosen to translate its name as “jewel bracelet.” [6] Kuurcha-shira means “Head of the Bundle,” or “Bundle’s Head.” In Sanskrit, when something is called the “head” – such as in “Atharva-shirsha” it means the highest portion, or the most powerful portion. Therefore, I suspect that Kuurcha-shira is actually located at the base of the thenar eminence, where the entire thumb meets the wrist joint. However, this is where Mani-bandha is located in the manual. So that is a little confusing. I think a compromise would be to refer to mani-bandha as radiating across the wrist, Kuurcha as being at the center of the thenar, and Kuurcha-shira as being on the little finger side of the wrist – because when you touch that point, you can actually feel the energy radiate down into the thenar. [7] Sanskrit Dictionary: indravasti m. the calf (of the leg) Susruta. Dr. Frawley translates this as “Indra’s Arrow,” and the dictionary provides: iSvastra n. "arrow-thrower", a bow. But I prefer “Indra’s Bow.” The story of Indra’s bow is as follows: “Indra, king of the Gods, as soon as born took up his bow, asking his mother who were his enemies (Rig Veda 8.45.4). The bow was to protect Indra from the moment of his birth.” That quote is from The Presence of Siva, Stella Kramrisch. Page 91. [8] Sanskrit Dictionary: kUrpara m. the elbow; Susruta. I decided not to just call this “elbow,” because the literal translation lacks much for the therapeutic imagination. Instead I translate this as Flowing Bend. [9] Sanskrit Dictionary: urvI f. "the wide one." [10] Sanskrit Dictionary: naabhi f. The navel, central point, home, the nave of a wheel, origin. [11] The name “kraknik” is not listed. Dr. Lad and Dr. Durve call the point at this location, “manyamani.” I presume the name that I learned from Dr. Miller comes from her guru’s oral tradition. [12] Sanskrit Dictionary: kRka m. the throat , larynx. krikaaTa n. the joint of the neck. krikaaTaka n. the neck; krikaaTikaa f. the joint of the neck; Susruta. I prefer to translate “the joint of the neck” to “Occipital Junction” based on the anatomical location of the marma. For convenience to the reader, I have anglicized the retroflex “T” into “t” in the Sanskrit transliteration of the marma name, and hyphenated it to make it easier to pronounce. Therefore: kri-kaa-tikaa. Readers should make sure to pronounce the name with both long “aa” sounds as that gives the name accuracy and elegance. [13] Sanskrit Dictionary: manyaa f. du. and pl. the back or the nape of the neck (musculus cucullaris or trapezius) Susruta. I translated manyaa as Neck Space because, while the dictionary states this noun means the back of the neck, both Dr. Miller and Dr. Frawley locate the marma on the side of the neck. I suspect this marma is fairly large, and of considerable importance due to its effects. Sushruta, in his chapter on marma, mentions the vessels in the neck as manyaa. An interesting point about translation is that manyaa (with a long terminating “aa”) means “nape of the neck,” while maanya (with a long “aa” after the initial consonant) means “honor.” Maanya, could refer to high-thinking, and respectability (high-browed, high-necked, or noble). Also the word “mane” (mane of a horse) is derived from the word manyaa, referring to the long hairs at the back of the horse’s neck. But also the word for mind is manas, and because manyaa affects fluid exchange in the cranium, including rakta dhatu and rasa dhatu, it must also improve brain function and clarity. [14] Sanskrit Dictionary: siraa f. any tubular vessel of the body, a nerve, vein, artery, tendon. Susrruta. maatrikaa f. a mother; a divine mother; N. of 8 veins on both sides of the neck (prob. so called after the 8 divine mothers, the ashtamatrika. Note also there are 8 forms of Lakshmi.) Susruta. [15] I have added to Dr. Miller’s sequence Akshaka, from the book by Drs. Lad and Durve. Akshaka has excellent therapeutic qualities. The Sanskrit Dictionary states, akSaka m. n. the collar-bone Sus3r. The etymology of collar is L. collāre, f. collum neck. Because this marma opens the upward energy flow of the neck, I have decided to translate akSaka as Etheric Column. [16] Niila mf n. of a dark colour, dark-blue or black; dyed with indigo. Nii-la is referred to by Sushruta as the blue veins of the neck. Dr. Frawley classifies nii-la as a sira, vessel marma, and locates it on the neck above the jugular veins. However, Dr. Light Miller has taught me the location below ak-sha-ka, and it makes sense to go from ak-sha-ka to nii-la energetically in this sequence. [17] Sanskrit Dictionary: apastamba m. a vessel inside or on one side of the chest containing vital air. This marma name is a compound of “apas” and “stamba.” Therefore: apas mfn. active, skilful in any art; of the three goddesses of sacred speech; of the active or running waters. Rig Veda. stamba (or stambha) m. a post, pillar in general. Because of the Rig Vedic connotation of “apah” as the waters of heaven and waters of life (see Sri Suktam) and the relationship between the marma’s position near to the lymph nodes and both right and left lymphatic ducts, heart, lungs, throat, and vocal chords, I prefer to translate this marma name as “Heaven’s Waterfall,” evoking the pillar-like shape of the living waters flowing down from the heavenly worlds, or lokas, wherein the devas, or gods dwell. Note that Dr. Miller teaches that apastamba is located on the side of the chest, and Dr. Frawley locates it on the front of the chest; however, the dictionary states apastamba is on the side and front of the chest. [18] Sanskrit Dictionary: hridaya n. the heart (or region of the heart as the seat of feelings and sensations; soul, mind; the heart or interior of the body; the heart or centre or core or essence or best or dearest or most secret part of anything; true or divine knowledge. Because this is a neuter noun, it can be pronounced hridayam, with terminal “m.” [19] 2 Uurvii f. the middle of the thigh Susruta. Also, uru: n. wide space , space , room RV., to grant space or scope , give opportunity RV.). I translated the UrvI of the thigh differently than the UrvI of the upper extremity because I like both Wide Open and Middle Space, and think each variation adds to the therapeutic visualization and energy appropriately. [20] Sanskrit Dictionary: ANi m. the part of the leg just above the knee Susruta; the corner of a house; a boundary. I have anglicized the retroflex “N” to “n” to make the Sanskrit name easier to read. [21] Sanskrit Dictionary: jaanu n. the knee. [22] Dr. Miller teaches that indravasti is located on the anterior leg, whereas all other references including Dr. Frawley provide the location on the calf. This makes sense due to the Sanskrit name of the marma, noted below. I have to discuss this point with Dr. Miller. [23] Sanskrit Dictionary: gulpha m. the ankle. gulphajAha n. the root of the ankle. I decided to call this marma Root of the Ankle because just “ankle” is not evocative. The other thing is that the ankle is very sensual and sexual, yet must also be very strong. [24] Sanskrit Dictionary: kshipra mf n. (compar, superl.) springing, elastic; quick, speedy , swift; the part of the hand between the thumb and forefinger and the corresponding part of the foot Susruta. [25] Sanskrit Dictionary: kuurcha m. a bunch of anything, name of certain parts of the human body (as the hands, feet, neck) Susruta. [300,2]; the tip of the thumb and middle finger brought in contact so as to pinch. Thus, a “pinch” (of something). [26] Sanskrit Dictionary: tal-hridaya is a compound name comprising of tala (m. n.) the palm (of the hand see kara-tala). hridaya n. (f). the heart (or region of the heart as the seat of feelings and sensations; soul, the heart or centre or core or essence or best or dearest or most secret part of anything. For the Tal-hridaya marma of the foot, I am translating the name loosely as “Foot Heart.” [27] Kuurcha-shira means “Head of the Bundle,” or “Bundle’s Head.” In Sanskrit, when something is called the “head” – such as in “Atharva-shirsha” it means the highest portion, or the most powerful portion. Therefore, I suspect that Kuurcha-shira is actually located at the base of the thenar eminence, where the entire thumb meets the wrist joint. However, this is where Mani-bandha is located in the manual. So that is a little confusing. I think a compromise would be to refer to mani-bandha as radiating across the wrist, Kuurcha as being at the center of the thenar, and Kuurcha-shira as being on the little finger side of the wrist – because when you touch that point, you can actually feel the energy radiate down into the thenar. [28] Sanskrit Dictionary: brihatii f. fr. a part of the body between the breast and backbone. Susruta. This marma is spelled Vrahti in Dr. Miller’s manual. Often, pronunciation of “B” and “V” are interchangeable in Sanskrit. While the name specifically means “torso,” I have used the more general usage of the adjective brihat to translate it. Therefore, “Vast Abundance,” and: brihat mf n. (in later language usually written “vRhat”) lofty, high, tall, great, large, wide, vast, abundant, compact, solid, strong. I have hyphenated the marma name for easier pronunciation. [29] Sanskrit Dictionary: amsaphalaka n. shoulderblade; Susruta. I have anglicized the nasal “M” (anuswara) to bilabial “m” to make the Sanskrit name easier to read. This marma name has been translated as “shoulderblade” in the dictionary. However, the compounds amsa and phalaka which make up the name provide a lot of imagery in their own right for the purpose of an evocative translation. aMsa m. the shoulder, shoulder-blade; corner of a quadrangle; m. du. the two shoulders or angles of an altar. And, phalaka (ifc. f. {phalikA}) {phala}, fruit, result, gain; ifc. f. a board, lath, plank; any flat surface (often in comp. with parts of the body, applied to broad flat bones. The same with long “A” (phalakA f.) is used for the word halakA, which contains the workd hAla m. {hala}, a plough. This I find interesting, because of the relationship between phala and hala (“fruit” and “plough”). Also the idea of how use of the shoulder and arms provides gain. Thus: amsaphalaka, Fruitful Plough. [30] Sanskrit Dictionary: amsa m. the shoulder, shoulder-blade; corner of a quadrangle; m. du. the two shoulders or angles of an altar. I have chosen to use the evocative meaning of “Sacred Altar” because of the way the shoulders form an altar to hold up the head (the Universal Mind, the Atman). The nasal anuswara “M” has been anglicized to “m” for easier reading of the Sanskrit. [31] Sanskrit Dictionary: nitamba m. the buttocks or hinder parts (esp. of a woman; mostly du.; the ridge or side or swell of a mountain, the sloping bank or shore of a river. I have chosen to translate this as River’s Shore, because nitamba affects the kidney (and that is how we are using it therapeutically in this massage sequence), and because of the resemblance of the slope of the lower back and buttocks to the shore of a river. [32] Sanskrit Dictionary: guda m. an intestine, entrail, rectum, anus. And: guvati vb. to void by stool. I prefer to translate this marma name into “Clearing the Way,” rather than by it’s anatomical location. [33] Sanskrit Dictionary: utkSepa m. raising, lifting up Megh. Susruta; expanding (the wings) Susruta. utsSepau m. du. the region above the temples. Susruta. I have transliterated “kS” as “ksh,” and prefer to call this marma as “Open Wings,” instead of by its anatomical location. [34] Sanskrit Dictionary: Shankha m. n. a shell, (esp.) the conch-shell; the temporal bone, temple (accord. to some also, the bone of the forehead or, frontal bone). I have transliterated zaGkha by using “Sh” for soft sibilant “z” and “n” for the guttural nasal “G” in order to make the name easier to read. Rather than translating it by anatomical location or as “Conch Shell,” I prefer to title this marma, “Divine Call,” because of the use of the conch shell at the start of puja to purify the elements. [35] Sanskrit Dictionary: siimanta m. parting of the hair. [36] Sanskrit Dictionary: adhipati m. (in med.) a particular part of the head (where a wound proves instantly fatal). adhi ind., as a prefix to verbs and nouns, expresses above, over and above. pati m. husband, lord, master, ruler, sovereign. [37] Sanskrit Dictionary: apaanga m. the outer corner of the eye; N. of Kama (the god of love). I have transliterated the guttural nasal “G” as “n” to make the Sanskrit name easier to read. Also the long “A” as “aa.” I translate the word by referring to the marma as “Eyes of Love,” referring to the eyes as the throne of Kamadeva (Cupid), the god of love. [38] Sanskrit Dictionary: sthapanii f. the space between the eye-brows, Susruta. Also sthaapana mfn. fixing the thoughts. The Sanskrit root also means to “fix in place,” or “support.” Spiritually, this refers to fixing the mind in meditation, or Inner Vision.

“Empowering your inner healing wisdom is the key to creating health and regenerating your life”

CranioSacral Therapy in Los Angeles

Healing hands are a gift: they are instruments of trust and compassion

Ayurvedic Massage

A Sequence for Two Therapists

3. Supine: Hands, Arms, and Shoulders.

4. Supine: Head, Neck, Collarbone, Stomach and Ribs.

Footnotes

“Empowering
your inner
healing wisdom
is the key to
creating health
and regenerating
your life”